IN MEMORY was formed by head stones, which recorded the name and dates that marked the beginning and end of each exhibition presented in the Animal gallery since the opening of the space up until this exposition, and were situated over an extension of grass on the roof terrace of the gallery. In this manner, the artists presented the memory of the gallery as an archive which lives on through the head stones, if we understand the head stone to be a monumental commemorative object that represents a tangible expression of permanence. Each head stone recreates a time, and also recalls a story: a time that reflects the perpetual nature of each exhibition framed in the gallery, and a story which allows us to understand each object as a named piece.
IN MEMORY was a performance that took place on the rooftop of the Animal Gallery in Santiago. This installation comes from a reflection on its own unique identity and place of the gallery, its genius loci, collecting deeper concepts that we had begun to develop in the installation of the same name for the Kent Explora show. Their identity is in the work’s traffic, circulating within the space and making up a story itself. In this memory as file work, we take to build our facility in perpetuating black granite gravestones elapsed exhibitions within the gallery space, with the limit date of our intervention. Each tablet recording the title and date of beginning and end of each of the fifty exhibitions at the gallery Animal over the period. Apart from them arranged our own tombstone, which was inscribed the words “EN MEMORIA”, undated. On the roof of the gallery we locate the fifty-one tablets following a mathematical pattern, which demarcated a territory for each one. All of them, as a single body, resembling a cemetery on the sky of the enclosure. Much of the surface of the roof, was covered of natural grass covered it from the outskirts of Santiago, whose weight reached three tons. Then the grass, devoid of water, dried up and turned our work in an abandoned cemetery, with its hard, cracked earth. We build it the memory of the gallery as a file maintained on tombstones, meaning the stone monument as an object, a tangible expression of permanence. Each gravestone reconstitutes a time and simultaneously recovers a fiction: a time understood as the durability of each exhibition as part of the gallery, and understood as a fiction named exhibitions, which were once not only representations of a given name, but large and complex translations of world experience. Similarly our facility, material wear, assumes the proper time that identifies the facilities, which itself is deconstructed and revealed as a fiction of representation. Their short duration is a condition of its meaning, the expectation of impermanence is part of his conception. The presence of the stone “EN MEMORIA”, undated, realizes the impossibility of their durability.