The idea of emptiness is scary. There is nothing more complex than accepting that there’s nothing after something. After the noise, there is silence. After death, oblivion.
Nowadays there are increasingly places devoted to memory and commemoration. However, what we remember and celebrate only reinforces the oblivion and makes it more evident. Memorials deny the memory of the place itself and the scenario of the commemoration is nothing but the place where death happened.
At the time and the place shows initially unimportant places that have become significant due to the deaths in terrorist attacks committed by ETA in Spain and France, from the Sixties to the present. They are ordinary places, places without interest, without specificity, they are places not to remember but to forget; places where today nothing is left but emptiness.
Irreverent with oblivion, beyond the material alteration of space, Eduardo Nave seeks to capture, at the precise time and place of the past event, what remains where nothing is left. He reveals the hidden scar. Rather than a photograph, he presents the audience an authentic, sensitive experience, an experience of contrasts: the contrast between images of stillness and traces of a state of unrest, between appearances of ordinary places and experiences of extraordinary emotional atmospheres, between the silence of life and the noise of death.
Through photography we approach, perceive, look, and finally capture. And once we capture we remember, unveil and deny the void. Eduardo Nave tries to make what escapes last. He tries to recover the memory from the places where it belongs. Where we forget it.
Maybe the light, the atmosphere, the sound. Maybe the absurd attempt to rescue the memory.
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