In a time marked by social fractures, accelerated technological transformations, and an urgent desire for historical reparation, this exhibition brings together four works that, using different languages and media, propose a radical reinterpretation of the past and present. Through poetic, political, and technological interventions, the pieces invite us to reconsider who narrates history, how our identities are constructed, and what kinds of memories we preserve.
Claudia Larcher, in AI and the Art of Historical Reinterpretation: How to Overcome Gender Gaps, uses artificial intelligence not as a tool for a dystopian future, but as a critical rewriting device. By replacing male historical figures with the bodies of FLINTA* people, her project subverts the logic of the traditional archive to construct counter-archives that make visible structural absences in the history of art and science. In this gesture, the artist confronts us with the possibilities and dangers of AI: can it correct exclusions without repeating them?
The documentary Let Me Know When You Get Home by Juan Diego Pérez de la Cruz shifts our gaze toward migration as an emotional and political territory. Through a hybrid narrative that interweaves testimony, performance, and visual poetry, the work addresses the memory of exile and the construction of identity in a foreign environment. The migrant body emerges here as a living archive, constantly being rewritten, where the intimate intertwines with the collective, and the question of home becomes an endless quest.
Selfie-Steem by Eva Salas reflects on contemporary impositions of beauty and their impact on female identity. Through a playful and critical intervention on old photographs of women—altered with digital filters and projected through a magic lantern—the artist places the desire for perfection in tension with the history of female representation. This installation, accompanied by beauty tips taken from YouTube, reveals the absurd and violent nature of the social expectations imposed on bodies, especially those of young women.
Gabriel González‘s 73 Centuries Expanded pushes the materiality of analog cinema to its limits to connect with an ancestral temporality. Filmed in Patagonia and presented as an expanded experience, the work evokes the millennia-old traces left by those who inhabited the southern part of the continent. This piece challenges us: what marks will we leave for the future? How can cinema, in its most tactile and precarious form, inscribe new narratives in the face of digital transience?
Collectively, these works not only denounce absences, wounds, or historical distortions, but also activate new forms of presence and storytelling. The artists invite us to imagine a more diverse, just, and sensitive future archive. An archive where history is no longer written in the singular, but in multiple voices, bodies, and temporalities.
Text by Rebeca M Urizar
