These photographs are my personal memorial to the 1994 Mexican crisis, aiming to broad the debate on historical authorship and cultural property. Memorials are sites of collective remembrance usually devoted to experiences of suffering, loss and sacrifice. They are artifacts for public memory, memorializing traumatic events in the community’s local history. Yet memorials are neither formally homogenous nor simple passive receptacles of truthful records of history. Public memorials functions to reinforce the idea of the nation. Memorials should have the potential to disrupt fixed notions of nationalism and identity. Resistance to state narratives of commemoration opens the possibility for multilayered memorials, symbolic spaces functioning more accordingly to the dense nature of our contemporary society. To reflect about the role of the urban landscape and their sites of memorialization in societies in crisis, not only should open the debate about their use as a marker for collective memory but also should facilitate the creation of multilayered commemorative structures, spaces and representations. The landscape as a snapshot from another life reconfigures, facilitates and encourages politically charged debates over the dense and multilayered nature of memorials. Is it possible the co-existence of parallel narratives to official historical discourses?. What is the importance of the dissemination of personal narratives, in contrast to the on-going construction of official history?. Could it be that the combination of these two not only shapes and transforms but also constitutes our collective memory?. My photographic work reflects about these questions, opening the space to alternative rhetoric’s and rituals against forgetting.
10 black & white photographs, 2 text panels, 1 archival video.
Curated by Tina Carlisi.
Graphic Design by by Lupe Pérez.
Special thanks to Jinyoung Kim and Bogdan Stoica.