Amnesia Subtitulada

The machine lives in an empty room in a relatively empty building. The room is black so no light from outside taints the light that the machine secretes. When I close the door, and before I slide into the machine, I can hear nothing, feel nothing, and see nothing. The memory machine reconfigures the memory of the bodies of my family. Four witnesses are allowed in the room to drive the machine and look at the secretion of light. The machine poses a question - what are the ethical implications of finding, editing and modifying an archive to create a continuous narrative into the present? Amnesia Subtitulada, along with its accompanying exhibition Memoria Obstinada, mark the end of a three year cycle of work on the interaction of familial memory and familial bodies in the context of post-dictatorship Chile, developed in collaboration with Silvia Olego, Roberto Kozak, and Nathalie Kozak.

Video Documentation

Photo Documentation


Memoria Obstinada

An accompanying exhibition for the Amnesia Subtitulada project.

The objects displayed in this room are proxies for my family. I made these objects while thinking through the ethical implications of encountering and modifying archives in the context of the post-dictatorial Chile. I was interested in memory and the gaps in memory and how these gaps are inherited and can be rearranged to create artificial but continuous narratives into the present. The objects in this room taught me a language with which to speak of the trauma embedded in my body. Through them, weight and light are made real - they are the beginnings of an alphabet of the body.


Using Format