The Family Portraits, Chapter 1. Testimony A-1

in Washington DC, US. (edited 2017)

The Family Portraits, Chapter 1. Testimony A-1 2017 HD video, audio, single channel 06:11Washington Memorials, D.C. USCamera, performative action: Livia Daza-ParisEditor: Alba Daza
Short story in ANYWHERE V. II as part of my articleThe Visits (Of Which There Were None) and this artwork The Family Portraits, Chapter 1. Testimony A-1
Published in print by Project Anywhere and Parsons Fine Arts.The New School; and Victoria College of Arts on 03/2018. Blind peer-reviewed project. Full text available online: https://issuu.com/projectanywhere/docs/pa_v.ii_2018

TESTIMONY A-1–A conversation with my (imagined) granddaughter
Yes, this was a long time ago. This is my mother, my father and me, at the memorials in Washington D.C. Your great-grandparents are 20 and 22 years old in the picture, and I am 50 years old. In this other picture, it is me and your great-great- grandmother Lucia, and your great-grandfather Iván and his brother Raúl. You, my darling, you look so much like my mother Irma, your great-grandmother. We made these visits to the memorials every day for two weeks. We took our time there. We were surprised to find that being at the memorials felt like being in ancient temples in Greece. And, this picture? That’s at the Jefferson Memorial. In this other one, we’re at the Teddy Roosevelt Memorial. I have wondered if these memorials have a memory, a consciousness of the empire they represent, of what they did to us. But so, what if they do? Shouldn’t we have the right to say something on that memory as well? Oh, it is a long story—one with a beginning that I don't really know and an end that I do not want to know... And yet, we were there, and we claimed these monuments to be witnesses of our family resilience, of our love. And you, my sweetheart, now you know this much and you can take it with you in life. We were there. And through you, here we are still.

This work was presented at Optica Gallery, in Montreal, QC, for the group exhibition Un dos tres por mí y mis compañeras, curated by Nuria Carton de Grammont, January-March 2020, and at the Ruskin Gallery, Cambridge, UK, for the group exhibition THEOREM 2018, Theory as practice and practice as theory, curated by Jane Boyer.