Stratigraphy of memory
Galeria Isabel Aninat will be at the 45th edition of Art Basel in Basel, Switzerland From June 19 to June 22, 2014. Leading international galleries will present works ranging from the Modern period of the early 20th century to the most contemporary artists of today. The gallery will be showing the work of PAULA DE SOLMINIHAC at the STATEMENT SECTOR in the booth S8.
STRATIGRAPHY OF MEMORY is an organic project that has been articulated according to possible and specific combinations from a master plan to a sketch of schemes.
Chile, has a constant seismic history, these events, such as the one occurred on February 27th, 2010, have broken into the personal and collective memory of its inhabitants. The destruction of the tangible and intangible heritage has provoked a superposition of stratigraphy and a search for permanent memory. This cyclical and ruinous scenario requires public and private reconstruction efforts and involves a permanent transaction of the individual and the nation between memory and ruin, forcing a re-do gesture repeatedly and imposing a new stratigraphy, in geology is the description and organization from the strata or layers of earth, as their way of modeling.
The response to this seismic land is put into action through the work of P. de Solminihac, which, as has been fundamented by the artist from the perspective of contemporary archeology, with authors such as C. Levi Strauss and A.Leroi Gourhan, seeks to put the attention on processes rather than objects, systematizing the study of material activity as a specific field of art and anthropology. The dynamic analysis of technology, term proposed by Leroi Gourhan aimed to extend what has traditionally been called technique to the movements executed over the material, is the accurate analysis method to explain the artist’s productive responses to their territory.
The earth movement has articulated the reaction of the artist scoring the smallest things of everyday life as domestic routes that start and end at the same observation point and reducing the territory to the shape of an island. Particularly in response to the condition of constant ruin, it referred to as atopy territory, i.e. as an impossible to classify and for that there is a list of 130 words that refer to the territory as an island, as non-place or as atopo, concept defined by R. Barthes as resisting the description, the definition and the language, with which she tries to work combining and relating these factors across different routes and unregulated chains, actions and archives to produce the appearance of senses in reserve, circular narratives and translation systems that seek to open the senses through the relativization of signs roles assuming the full fragility of dwelling and its mapping.
To Artbasel will be presented at a panel, an artwork corresponding to the product of a large format body mass consisting of clay hanging with atopos words, in the next panel, a complex system composed of two drawings-algorithms on paper and cardboard, one alignment point tool made by drawing on tracing paper, one botanical illustrations of Chilean endemic flora, one map made by drawing and a hanging clay paper column ,and in the third panel four hanging masses of white clay and a map of points of the circular everyday life routes on blackboard.