Warp and Weft, 2016.
24 bastidores, grafito, papel y madera, 47,5 x 56 cm, c.u.
Among the iconic photographs of the Spanish Pavilion, there is one that shows a completely empty patio with two rows of 24 perfectly aligned chairs facing the stage. It is very likely that some of the main actors connected with the Pavilion sat on those chairs. The emptiness and the atmosphere of the picture are disturbing and premonitory because they seem to foreshadow the defeat and solitariness of exile.
Warp and Weft is a composition consisting of 24 drawings made with the technique of frottage on the seat of a chair of that time. The marks made by the rubbing of a pencil on paper might be interpreted as a metaphor of the absent memory of the exiles and of the violence that was exercised on their bodies – in a permanent state of waiting – by oblivion. As Max Aub expressed it in a book that he wrote in exile (Diarios 1939–1972) and that provides the title of this work: “(…) When it comes to withstanding, what will a human being not bear? One puts up with everything. One gets used to everything. One forgets. So when life presents itself with many faces in the night, like now, one becomes absorbed. (…) And there is something of me in where I went, and not only in memory. The enormity of every human life, all intersect- ing. All warp and weft. And that life cast at the heavens, existing for ever.”