And yet, there are so many left to do…
I would like you to close your eyes…
Let your heart and reminiscence take you to the memory of a woman you want to express your gratitude to. Copy her name on a strip of paper and send her a message. I would love it if you shared this rekindling with me. I could ask for nothing more than for this detail to connect you to her. In the room there is a transparent methacrylate house with small groove, almost like a letter box, so that you may become in the REMITENTE of the words you would like to have said to these women in the past, women who cleared the way, or else who continue to do so. Let correspondence and dialogue carry on.
I have chosen each and every woman in the art installation because, irrespectively of the time in which they lived and their profession, I know they all loved and love their career –chosen for their commitment and dedication, they are educators: painters, sculptors, musicians, writers, sportswomen, nurses, dancers, politicians, fashion designers, mathmeticians, philosophers, queens, saints… Our mission is not only to transmit knowledge, but to build human beings. Each one of these women has taken part in the process of transforming the society in which they lived by building a range of change patterns which we should not ignore.
REMITENTE is a mosaic of handmade portraits. I have chosen to imagine the appearance suggested by each name and life. Each one of these women is the recipient of a handmade message. At a current time in which letters and postcards have been rendered obsolete by emails, whatsapps, calls and audio messages, I wanted to reclaim the intimacy of thinking about somebody and having your hand trace, letter by letter, words aimed exclusively at that person. The resulting repetition of this task becomes a correspondence: 612 messages for 612 women written with appreciation and admiration for their willingness to change what “was” and what “there was” around them. Let my steps follows theirs, their footprints no longer forgotten.
As an educator, children and youths are always present, for they do not necessarily learn from an impartial and global perspective as commonly rendered in school books, internet and television –for instance, while watching sports news. The mere reading of female names in the installation is an answer to a question which they must have surely asked themselves when studying history of music or literature –so pattently devoid of women. Where are they? Where have they been? The answer is always the same: here.
I know you’re always here and this makes me endlessly happy.
CENTRO DE HUMANIDADES DE LA SIERRA NORTE, 2018