MEMORIA’s booth concept revisits the urgency of historical artistic practices in Latin America related to our collective capacity to assume a new visuality, a new language to understand social mutation, as well as the transformation of sensibility and political awareness. A proposal that materializes the project’s interest in defending the semantic and symbolic richness of the diversity present in Latin American Art in the last four decades. The curatorial essay and central argument is the relationship between historical Latin American artists and the current contemporary scene, through a dialogue between the artists represented, aligned with the main mission of the project which is the construction of compensatory narratives through the displacement of aesthetics from the periphery.

Marta Palau and Roser Bru participate as a liaison to the Spanish civil war’s exile and the new belongings to their host homelands: Chile and Mexico. Palau with her Sellos de la España Sellada (1975), made after Franco’s death and Bru’s works were created in the same decade, inspired by the literature of authors such as Franz Kafka or Frida Kahlo, thus claiming a new narrative on feminism. It is then, when gender activism in Terry Holiday’s Patchworks and Paz Errázuriz’s Manzana de Adán, open up a mutation affirming the impossibility of reducing subjectivity, desire and pleasure by heteropatriarchal normativity. (Dissident Fantasies – Fantasias Disidentes / Curatorial Project presented simultaneously in – Zona Maco Ejes 13-, and initially a part of the General section ‘s proposal).