Text: Chus Martínez Domínguez

May the 3rd 2008

The pieces Antía Moure (Monforte de Lemos, Lugo, 1981) has shown us since 2000, translate a constant supply from the sentimental to the tangible, from the photographic to the installed drawing. Artista-canal suggests carrying out the occupation of the space by means of the intended and the intuited, as the narrative sediment of the image, around which needed clues and unities gravitate: memory, time, absence and confidence; some signs acting as the pauses of an intact chaos, the perfect big-ben to extract arguments and evocations. In her pieces, she looks for the corporeal nature of the memories, the emotions, using the mechanisms of writing and the object as the palimpsests that conquer/reread reality. This way, she takes hold of the present by rescuing elements, spaces, or by writing sentences and dates on the walls of some buildings without name; conscious confessions that scratch the skin of those apparently inert containers, humanized by the relations of meetings and mix-ups. Her pieces Te quise más que a nadie hijo de puta, Ya casi no te quiero, Hazte llorar or 3 mayo 2008 are the coordinates of a sentimental map that tries to inform us about a news, a melancholic, painful, declared, confessed communication.
This diptych is a sort of improvised domestic album, the container of an intimate and introspective exercise where you can find out the possible, the contingent. Image and texts are allegoric devices to show the memory, other people’s memory and at the same time your own memory, which the artists recovers, dates and installs in this space, proving its metamorphosis by means of a plurality of references, of perspectives and approaches. A space of disordered signs that write a dissected story, confronted by the action and the reflection. A visual poem in which the spectator mends, in a never-ending look, the present and the past, where the truth is a fragment, and the memory transfigured into an object occupies everything. Trace-object, noise-object, miracle-object; those elements exist in this narrated piece of time, easily manipulated, open instant in which the only exit is a testimony, always fictitious, always enigmatic in a suspension points end. Con la colaboración de: ´