coVid19_madrid Madrid (Spain), 2020. Daily life in Spanish capital during lockdown due to coronavirus outbreak.

'Los ojos que te faltan' ('the eyes that you don’t have') is a project about memory, identity, trauma and the visibility of victims, but above all it is a proposal on how to develop an architecture of memory that makes victims visible by giving them a new public identity. and collective that is effective to claim its space today. The title ('The eyes that you don't have') comes from the poem of Antonio Machado 'The Crime was in Granada' dedicated to Federico Garcia Lorca, murdered in Granada by fascists in 1936. It is a project that reflects on how we are capable of prosecuting those crimes that the dictatorship hid and that even today remain shrouded in silence and impunity. About how to confront the image of the victims and their presence without using identifying photographs that now tell us little or nothing about them and whose most effective context is surely the warm privacy of their own families. On the contrary, my proposal is based on the fact that at this historical moment what is important is not the specific visual identity of the protagonists, but rather exploring precisely the way in which their visibility constitutes collective actions. To do this, I work with identity photographs of people murdered and exhumed from mass graves since 2000. I compile the available photographs of the people exhumed in each of the graves and group them in such a way that the features of their faces are superimposed. so that the visual identity of all of them is diluted, forming a single face in which individual features will be more difficult to differentiate the more people whose remains have been exhumed are shown. All the victims are truly present in each of the images, but forming a new collective and political identity with which to begin a reflection on their place in public memory.

'Desire paths' is the name given to those alternative routes to the routes officially designed by architects or urban planners, and that arise unpredictably, carried out by the free walking of people. They are unofficial routes that, in most cases, reflect more logical, shorter routes that are better adapted to the needs of citizens. They are simple and clean paths that speak of our natural desires and also of a simple but tenacious resistance to what is sometimes attempted to be imposed without first having assessed people's real circumstances. This work refers to the vital paths that people from the so-called baby boom generation had to follow, sometimes looking for an alternative to those lives that were imposed on them. There were those who managed to trace and follow these alternative routes and those who did not manage to leave the official routes. There were those who took risks on those unknown routes and those who got lost in them. The work talks about the lives of a series of people who were born or grew up around 1960, taking Pamplona as a reference point. At that time, 20 years of dictatorship had already passed after the end of the civil war and an explosion in birth rates was beginning to be experienced, although with a certain delay compared to the rest of Europe and the United States, mainly due to economic stabilization. It was the historic moment in which Franco inaugurated the Valley of the Fallen, the Cuban revolution took place, Lehendakari Aguirre launched his last Christmas message from exile, Jorge Oteiza finished his sculptural work, the ETA organization was born, Martin Luther King spoke his “I have a dream”, John F. Kennedy was assassinated in Dallas and Julián Grimau was shot in Carabanchel prison. The project talks about my own generation, so I want to look at those who go with me with a look full of common experiences but also with the curiosity to know what their lives were like. I think that this personal reflection right at this moment about the complex place that people of my generation have occupied can be a good way to know our place in the new paradigms that are presented to us. Perhaps this is no longer the time for great stories and this work does not need them either. On the contrary, what it aims to do is show the small alternative paths, the small gestures, the personal memories, the light sensations, the small emotional memory that finally shapes our lives in a much more resounding way than pompous words or grandiose destinies.