To the same extent, Terry Holiday (Mexico City, 1955) has generated alternative landscapes and scenarios of resistance and relish over decades, both through her work as a performer, vedette, costume and set designer, and through her artistic practice in drawing, painting, collage and patchworks. In a context of social repression and persecution, the trans artist and activist has turned to the production of escape routes through scenarios with worlds of color, a pulsating creative mechanism in the face of the opacity of an oppressive and marginalizing reality.

The body of work of Roser Bru (Barcelona, ​​1923 – Santiago, 2021) is developed in this same vital drive. Her exile to Chile, with the final result of the Spanish Civil War, has marked her artistic practice from a place of opposition to the dominant forces and, at the same time, hopeful for a promise of a better reality, fundamentally centered on the figure of women and mothers. Her painting, central to the understanding of Chilean and Latin American art in the second half of the 20th century, blends a set of references that have underpinned her personal escape route, but also her interlocution with the artistic landscape in which her professional career developed. Also like Holiday, although in very different times, contexts and geographies, Roser Bru has generated scenarios in the pictorial field that could alleviate or explain the tensions of the oppressive reality that she and her family have overcome.

MEMORIA presents in accordance with its institutional project, a plural proposal in techniques, geographies, periods, aesthetics and concepts, woven together by human and recognizable elements, with the intention of broadening debates and bringing to the audience at ZONAMACO a set of works with cultural merit, historical weight and emotional value.