Parting from the only photograph of my deceased grandmother that is printed, framed and displayed at each of her eight children’s houses, this installation plays with this image in order to create a space for active mourning and critical remembrance. The installation materializes the multiple layers of meaning that coexist within a single image, in order to explore the (re)production of collective memory.
This installation emerges from a research process about my family’s stories about my great-grandmother, who passed away shortly before this installation was produced. After almost ten years of Alzheimer’s, establishing who she was/is/will be turned into a collective construction of her history through an array of intertwined memories, full of sensory motifs. The strawberries and the knitted yarn, the most present memory-objects that appeared in interviews with my family members, materialize the passage of time through the piece, standing in as a symbol for personal associations, mortality, and the ephemeral nature of remembrance.
A series of video projections and soundscapes projected onto the diagonal wall at the Zellebarch Quad of the San Francisco Art Institute. This project stages bodies in conflict and tension, challenging each other within the architectural frames of the building, revealing the relationship of body-space-structure. The videos, sounds, and projections were created by Marcela Pardo, Ana María Montenegro, Simón García-Miñaúr, Kelly Franklin and I.
A three-screen documentary about cultural memory, power, and resistance that interweaves the stories of the Occupy Wall Street movement in 2012 (New York, USA), the struggle for official recognition by the Eastern Pequot Tribal Nation in 2013 (Connecticut, USA), and the difficulties artists face at the Blaise Senghor Cultural Center in 2013 (Dakar, Senegal).