IN MEMORIAM is the performance that takes place within the implicit time of the exposition OBITUARY and forms part of the essence of the piece. Through this artistic action the total destruction of the work is produced, the constructed wall collapsed in thirds, in front of the artists who kneel still, veiling their desperation and their depth as part of the work in the process of passing. This anguish is made visible by having spectators play the part of witnesses, accomplices in the destruction, but at the same time companions sharing in the pain. The transcient aspect of the performance, of the act of art, is related to the materiality of the instalation, in the way that action and experience occur simultaneously, where the presence and participation of the artists gives a revealing context of the work.

“In this art action a squad of masons performed the systematic scrapping of the wall built our presence in that ritual, kneeling, dressed identically and still, we watch the process of their disappearance. We were two women reclining, passive and resigned, over the wall while the other side the men came to the destructive action of this, emulating similar behavior in many traditional societies, particularly religious. The disappearance of the wall and the metaphors of the process is made visible and public to have as witnesses to the workers and spectators, as relatives while accomplices in the destruction, accompanied us in grief.“