{"id":1452,"date":"2024-09-20T16:30:32","date_gmt":"2024-09-20T16:30:32","guid":{"rendered":"https:\/\/revistaquiote.org\/?p=1452"},"modified":"2024-09-20T16:30:38","modified_gmt":"2024-09-20T16:30:38","slug":"evocaciones","status":"publish","type":"post","link":"https:\/\/revistaquiote.org\/?p=1452","title":{"rendered":"EVOCACIONES"},"content":{"rendered":"\n[et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb22px|||||\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb][et_pb_row _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb-4px|auto||auto||\u00bb custom_padding=\u00bb4px||0px|||\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb][et_pb_text _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb min_height=\u00bb256.6px\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb]

ARIADNA RAMONETTI <\/strong><\/p>\n

I know that beat. It is lifeless.<\/em><\/strong><\/span>
I know intimately that skin you are hitting.<\/em><\/strong><\/span>
It was alive once hunted stolen stretched.<\/em><\/strong><\/span><\/p>\n

Conozco ese ritmo. Se encuentra sin vida.<\/span>
Conozco \u00edntimamente esa piel que est\u00e1s golpeando.<\/span>
Estuve vivo una vez que fui cazado, robado y estirado.<\/span><\/p>\n

Suheir Hammad, 2010<\/strong>\u00a0<\/span><\/p>[\/et_pb_text][et_pb_text _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb min_height=\u00bb540.8px\u00bb custom_margin=\u00bb||11px|||\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb]

Evocar un recuerdo que se ha desvanecido con el tiempo es un gesto espont\u00e1neo, a menudo desencadenado por factores externos. Por ejemplo, un olor o un sonido pueden atravesar fugazmente nuestra mente, transport\u00e1ndonos brevemente hacia un pasado personal que a veces se vuelve l\u00e1bil, fr\u00e1gil y oscuro.<\/p>\n

Tras estos instantes de evocaci\u00f3n, nos damos cuenta de que existen otras tipolog\u00edas del recuerdo que pueden activar la memoria, incluso si no las hemos experimentado personalmente. En este sentido, la memoria puede entenderse como una acumulaci\u00f3n de h\u00e1bitos, resultado del esfuerzo y la frecuencia con la que estos se reproducen, y el recuerdo, como el est\u00edmulo que la activa para revivir el pasado.
La memoria es una facultad influenciada por un contexto particular, determinando as\u00ed qu\u00e9 recuerdos retiene el sujeto y cu\u00e1les prefiere o puede olvidar. De esta manera, una experiencia dada en un contexto social espec\u00edfico inculca formas concretas de memoria, las cuales afectan el presente de quienes comparten ciertos recuerdos comunes.<\/p>\n

Evocaciones<\/em> de Eugenia Mart\u00ednez busca traer al presente una imagen de 1945 encontrada por la artista en la Fototeca Nuevo Le\u00f3n durante su investigaci\u00f3n para este proyecto. Se trata del retrato an\u00f3nimo de una novia, transferido digitalmente a la t\u00e9cnica del colodi\u00f3n h\u00famedo. En esta imagen, el rostro enigm\u00e1tico de la novia, suspendido en la penumbra de la sala, parece mirarnos desde lejos, advirti\u00e9ndonos sobre los rituales que a menudo ocultan las violencias experimentadas en silencio. Estas violencias se incrustan en el cuerpo de las mujeres como vidrios afilados que se encuentran al pie de la imagen, reflej\u00e1ndose como espejos rotos en la memoria compartida de las opresiones patriarcales que todas, todos, todes hemos vivido en alg\u00fan momento.<\/p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/revistaquiote.org\/wp-content\/uploads\/2024\/09\/2.jpg\u00bb title_text=\u00bbAriadnaRamonetti2″ _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb min_height=\u00bb635.9px\u00bb custom_margin=\u00bb-26px|||||\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb||-9px|||\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb]

Con el objetivo de dar voz a aquellas que la han perdido, la artista recupera la t\u00e9cnica del colodi\u00f3n h\u00famedo, inventada en el siglo xix. Esta afinidad electiva nos transporta a un tiempo diferente, \u201cfijado\u201d en placas de vidrio que ser\u00e1 uno de los antecedentes de la fotograf\u00eda, la cual tambi\u00e9n ha servido para inscribir las violencias sutiles que las mujeres padecemos, ya que ser\u00e1 una t\u00e9cnica ampliamente recurrida para retratos familiares y tarjetas de visita. Como escribi\u00f3 Susan Sontag, \u201cfotografiar personas es violarlas, pues se les ve como jam\u00e1s se ven a s\u00ed mismas, se las conoce como nunca pueden conocerse; transforma a las personas en objetos que pueden ser pose\u00eddos simb\u00f3licamente. As\u00ed como la c\u00e1mara es una sublimaci\u00f3n del arma, fotografiar a alguien es cometer un asesinato sublimado, un asesinato blando, digno de una \u00e9poca triste, atemorizada\u201d.<\/p>\n

La instalaci\u00f3n de Eugenia Mart\u00ednez se complementa con una espacializaci\u00f3n sonora basada en sonidos de cuencos y una frase de la poeta Suheir Hammad acu\u00f1ada tambi\u00e9n en vidrio y suspendida en el espacio de exposici\u00f3n.<\/p>\n

El recuerdo de estas violencias a trav\u00e9s de la instalaci\u00f3n Evocaciones<\/em> profundiza en esa memoria com\u00fan, que puede servir para vincular una serie de acciones y comportamientos y que incluso pueden ser experimentados de manera compartida. En este sentido, las mujeres formamos parte de una memoria colectiva que alberga un conjunto de experiencias vividas por nuestras antepasadas, donde el presente y el pasado se reflejan en lo que significa ser mujer en la sociedad occidental y c\u00f3mo esos mandatos que se nos han impuesto, siguen coartando nuestra libertad individual a\u00fan en el siglo XXI<\/span>.<\/p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/revistaquiote.org\/wp-content\/uploads\/2024\/09\/3.jpg\u00bb title_text=\u00bbAriadnaRamonetti3″ _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb custom_padding=\u00bb21px|||||\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb][\/et_pb_image][et_pb_text _builder_version=\u00bb4.27.0″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb theme_builder_area=\u00bbpost_content\u00bb]

Im\u00e1genes
<\/b><\/span>Evocaciones<\/em>, instalaci\u00f3n de Eugenia Mart\u00ednez en el Centro Cultural Plaza F\u00e1tima, San Pedro Garza Garc\u00eda, Monterrey, Nuevo Le\u00f3n. Junio, 2024.<\/span><\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

ARIADNA RAMONETTI I know that beat. It is lifeless.I know intimately that skin you are hitting.It was alive once hunted stolen stretched. Conozco ese ritmo. Se encuentra sin vida.Conozco \u00edntimamente esa piel que est\u00e1s golpeando.Estuve vivo una vez que fui cazado, robado y estirado. Suheir Hammad, 2010\u00a0Evocar un recuerdo que se ha desvanecido con el […]<\/p>\n","protected":false},"author":1,"featured_media":1476,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[138],"tags":[],"ppma_author":[140],"class_list":["post-1452","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-numero-dos"],"yoast_head":"\nEVOCACIONES - REVISTA QUIOTE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/revistaquiote.org\/?p=1452\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"EVOCACIONES - REVISTA QUIOTE\" \/>\n<meta property=\"og:description\" content=\"ARIADNA RAMONETTI I know that beat. It is lifeless.I know intimately that skin you are hitting.It was alive once hunted stolen stretched. Conozco ese ritmo. Se encuentra sin vida.Conozco \u00edntimamente esa piel que est\u00e1s golpeando.Estuve vivo una vez que fui cazado, robado y estirado. 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