El lado caliente | Travesía Cuatro Madrid | Curated by Andrea Celda

[00:00:00]And, for that matter, I can assure you that Western democracy and civilization is really losing place in the country.

[00:01:18]>> Emissaries of Amnesia is a multi-sensory installation viewed from a surrealistic, fictitious, and true narrative. The installation reflects on the November 1977 Chimoio Massacre, [music] an aerial and ground assault on civilians in the Zimbabwean African National Liberation Army ZANLA by the Rhodesian Security Forces.

[00:01:41]The narrative begins with the arrival of the spiritual entities known as the emissaries when they are summoned through a ritual performed by appointed spirit mediums to offer guidance, healing, and safe passage to the ethereal realms and the world of the ancestors. With their presence, the site of the massacre is transformed into a site of care and convalescence. The emissaries move between the physical and the metaphysical world.

[00:02:15]>> Personal Accounts is a transnational, decolonial, black feminist work of repair.

[00:02:22]Uh the sonics of this work is really important.

[00:02:26]These are formed accounts of collaborating survivors in these different contexts.

[00:02:33]Each one of them gifting and offering to us as visitors, yet these are different kinds of gifts and offerings and accounts. The spoken words are withheld.

[00:02:45]So, what you come to is what I term a kind of paralinguistic space. It's those moments in between the spoken words, the hums, the sighs, the intake of a breath, laughter, coughs, clearing of a throat.

[00:03:00]And as you come and walk into and enveloped by the space, I ask that you really open yourself up to this work and how it's really asking you to think, what does it mean when we forego lexicality? Why is it survivor-centric?

[00:03:17]What do I have to learn from these individuals?

[00:03:21]>> Lá vou atrás para is a work where I use movement and my hands and body to replicate arches.

[00:03:29]Arches as in architectural arches.

[00:03:33]I think arches are especially compelling because they express the weight um the weight of everything that rests on them and at the same time that they enable this smooth transition from the inside to the outside.

[00:03:48]And for me, they are like ears because uh both ears and arches don't have lids.

[00:03:55]Inside and outside are in constant flux because there are no doors.

[00:04:01]So, I feel arches are the best and and the most simple metaphor for listening that architecture has ever created. And I especially like the simplicity of what this gesture expresses.

[00:04:16]>> Uh for this specific work, which I started documenting around 2017.

[00:04:21]So, it's basically the conversation is coming from the Bombay, uh which I'm capturing one specific society called tall. It's a called housing society, small housing society.

[00:04:33]Uh actually, the British is actually create that whole place as a prison.

[00:04:38]Uh but slowly it's become a you know, it's a changing as a housing society. A lot of mill workers, uh low-cost sanitary worker who used to live there.

[00:04:48]And uh so, that's why we try to which I recently 2023, uh when they empty whole building, this whole society. So, almost 2 years it's a blank. Nothing is there.

[00:04:59]So, I was collecting few material from there. So, which you see the objects that are actually collect from there and we cast them metal. And metal color also you can see as a we try to make as a more skin tone.

[00:05:13]The labor, people who work. And so, it's a conversation about the class system also in India, upper class and lower class. So, how upper class people using lower class people. So, you know, they're they're using treating lower class people as a tool, sources, you know? It's not as a human.

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