Paraisos de la Memoria. Palace of Memory. My grandmother classified during life those places and moments that had lived intensely but for some sentimental or territorial because it was impossible or was better not to them as memory havens. And thats how I started developing this project, and the reconstruction of a place I visited only once and that it was impossible to return. Unable to work with the space directly, the film itself and my current health geography (living in Mexico DF) determined the strategy. This is where the memory, the memory and distance begin to develop tools and materials through which to shape the reality. When a reconstruction of the past, is performed to memory, usually something very fragile, evanescent, imprecise. This material is fragmented and highly volatile. It has conducted research in Mexico City cinemas and theaters left that could serve as possible locations where pruning roll and create a document that draws a possibility of what this film Bogart hides inside its walls. It is a possibility, not a reality. One approach, not a description. The image is constructed from the darkness, through a sequence of lights that let you see a space for a second before disappearing back into the darkness ... and back to memory. You can not have the memory. It is better to live there, if possible. -- by Luis Urculo
Posted on: Sun, 16 Nov 2014 23:52:53 +0000
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