Rosa Muñoz: Constructed Memories
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For some time now Rosa Muñoz has been travelling the streets of her city, Madrid, with a rucksack filled with curiosity, tenderness and memory, which are given a place among the lamps, Nubes y perdigones Clouds and Pellets¿the photometers, the flashes and lights, the lenses and the cameras. Like a modern Baudelaire she strolls at the rhythm of a flâneur, curious and attentive, through places in Madrid that are still places (if we keep to the ideas of the French anthropologist Marc Augé and his theory of non-places), given that they are precisely loaded with referential value, value of memo...
For some time now Rosa Muñoz has been travelling the streets of her city, Madrid, with a rucksack filled with curiosity, tenderness and memory, which are given a place among the lamps, Nubes y perdigones Clouds and Pellets¿the photometers, the flashes and lights, the lenses and the cameras. Like a modern Baudelaire she strolls at the rhythm of a flâneur, curious and attentive, through places in Madrid that are still places (if we keep to the ideas of the French anthropologist Marc Augé and his theory of non-places), given that they are precisely loaded with referential value, value of memory and, therefore, with a word that does more than rhyme with this: history. On this wandering she seeks and finds façades of old buildings, which she photographs in order to preserve them in this memory, at the same time trying to grant them with respect, interest and complication due to all that which, whilst being old, can equally live alongside the new. Since 1839 photography and architecture have been strangely interlinked in mutually being of use to each other for the construction and recalling of mythical and real social spaces.¿
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