AMIMONA is praise for the memory of a place, where I propose researching and recreating life in Chillida leku before the sculptures found their home there. Remembering the human side and its conflicts, from a past that still lives within us. Bringing them to the present, into the current context posed by the question: how do these two realities coexist? What I am proposing is a reflection on other ways of inhabiting the space and restoring this cultural inheritance that is so closely connected to rural life. A past that is no longer deep-rooted in many of us, which now manifests itself as yearning, seeking, and hoping.
Chillida Leku is an intimate concept for me that has a very specific past, where the memories of my grandmother’s life live on along with those of her family members and the other three families that lived in the museum’s country house until 1930 as the tenets of a Marquis. Given that my grandmother’s body already rests in the ground, this is an opportunity to research what is somatised in the body of this place through memory and archival work.
I am conceptualising research and documentation work to lead me though a process of performative creation. Spending time in the region, recalling memories, and using that as a springboard to address the images that experience evokes in order to construct a performative imagination. A dialogue between art, memory, and rurality. Recording video and sound, writing, performing, painting... Being in this hybrid in some way, with creativity at the service of different disciplines as a way to build on and understand how each artistic language shares the same reality.
