Open Research Project (2014-present).Archive of documents, photographies,videos, and visual strategies registering vestiges, architectures, ruins and landscapes of the Spanish Civil War and the transmission of Spain’s recent History;exploring landscapes of war where vestiges of the historical conflict are found.
The research process is developed around 3 main concepts articulating the study of the vestige and the ruin as symptom of a conflict with the past in the present time: Artistic archeology, Archeology as monument; Hegemonic discourse: Consensus as exclusion/Dissension as construction of what is common. Spain’s recent History, is yet an unsolved problem whose transgenerational transmission mirrors deeper contradictions that prevent a shared account including and acknowledging agents and events, as well as its intra-historical repercussions as part of a common history. The initial question unmasking the conflict is: Why is it controversial to speak about the Civil War after 76 years? Why is it contentious to establish a dialog in the public sphere about this event?
In this investigation, the landscape presents itself not only as a contextual element of the material traces of a past historical time, a post-war landscape; but it is also an essential element as a palimpsest accumulating and superimposing historical layers from several temporalities. Thus, its reading is a process that reveals what has been marginalized and concealed from memory.Within the Casa de Campo’s environments, I find these ruins and traces of the Spanish Civil War in an extreme state of dilapidation, that I interpret as symptoms of a social, historical and political unresolved conflict.The context together with the ruins present a dialectical landscape where nature and culture follow one another at different times. In this specific case, as settings of the war, both nature and culture share destruction as common element.
This territory - the landscape of war- allows me to carry out a kind of artistic archeology: that is, starting from the material traces of the historical conflict that are accumulated in different layers under the collective unconscious, the art practice works as an unearthing strategy to look for what is not visible.
This sort of archeology aims at digging into oblivion and the conflict’s roots. In its connection to art, it studies not only the historical, but also social and political layers seeking to make visible what has has been banished from the visual field of our culture. Plastic and visual strategies that, using means and materials belonging to the physical landscape, want to remember and face what has been repressed.