For the first time in Mexico, Héctor Zamora is presenting a project taken from the new direction of investigation pursued by his work, which involves actions in the creation of his site-specific interventions. Such is the case of Order and Progress (2012-2016), The Abuse of History (2014) and Rupture (2016), works produced in Peru, France and Brazil that have evoked concepts of freedom, lack of satisfaction, oppression, progress and the symbols of progress. In Memorandum Zamora merges the special characteristics of the building with a mechanical activity, generally associated with the female gender, to set out diverse lines of interpretation of a sociological and political character related to the local and global context.
Zamora critically refers to the functioning of the governmental, bureaucratic and institutional systems of power and points to the role of the secretary in the misogynist, capitalist workforce. The subjugation and invisibility of the female role are subverted by the artist in a type of homage-action that establishes the participants as the sole presence during the action, while they weave a self-referential narrative as they type their own biographies.
The artist acknowledges as references the theme of vulnerability in the face of the justice system explored in Franz Kafka’s novel The Trial, as well as The Swedish Theory of Love (2015), a documentary on an efficient and organized society that suffers from isolation and individualism. Another example is Natalia Almada’s film Everything Else (2016), which presents the indifference and dehumanization expressed towards government office workers, a portrait of survival marked by routine, alienation and solitude, inspired by Hannah Arendt’s idea of bureaucracy as one of the worst forms of violence.
The constructive, visual and sound elements of Memorandum make reference to assembly plants, factories and workshops. They reveal the disadvantages of forming the least-valued link in the chain of machinery, hence the word used for the title, which means “what must be remembered.” Zamora provokes memory, in the institution, in this country, and as a witness to the present times.
Itzel Vargas Plata