imagining the coming encounter

next week we will perform in Het Veem theater, in Amsterdam. anticipating this encounter with the audience I can’t help but think again about questions that different people posed at me. writing I am constantly negotiating between what the textual content says (trying to be clear enough for a reader that is not familiar with my whole thinking history in this project) and with remaining transparent about my own uncertainties and contradictions… I asked myself again what could the audience get from this work. I don’t want to excuse myself, but I also don’t like assuming that I know or can indicate what they should make out of my work. but I tried to write something in response to the question:

This work reactualizes each time its  intention of exercising memory. This work promises no answers but tries to be as honest as possible about its limitations and blank spaces. Many answers are absent here. This work states that it can engage with this subject. It sounds tautological, but it is what it is. It’s true. A tautology is a true that doesn’t move very far from itself. But this work is put into the space, in a room together with a lot of other bodies. This work is an act of speech, a word put out of a body (or several bodies). And it starts moving away from itself when it is watched, when it is questioned, when it initiates a dialogue with other ideas inside new bodies.

Surely many works of art do that. This work intersects the specific memory of state terrorism in Argentina during the 1970’s with the personal stories of some people here, in this specific time.

This work considers it important to defend humanistic values, among others the right to a dignified life and the right to free expression. And it considers it important to not reproduce the common sense and clichés of how a discourse about these values should be constructed. This work will say again something that has been said many times. And it will challenge itself to say it in a new way, in a way that opens up new sensitivities, new time frames, new thoughts. This work will re-state something it considers important and will attempt to refresh its potential.

To not take things for granted and challenge the creativity of a discourse on human rights pays tribute to the incredibly creative responses that emerged in that time, such as the movements of Mothers and Grandmothers, who 30 years later keep playing a huge political role in the defence of human rights far beyond the emblematic claim of re-appearance of the victims.


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