Ana Maria Pacheco
Memória Roubada, 2001
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. . . The cabinet opens its doors onto the effects of violence; more than a simple  theft, there  has been an armed robbery, murder, or genocide in the name of someone or something – a form of mockery or contempt. Outside, there to be contemplated, lies the heart, pierced by those beautiful, noble daggers, their blades gleaming.

To bring this crime to light, the work gives us its core – it only examines its heart.  Through what’s left behind, everything else can be intuited. The spectator at one moment identifies with the heads in the cabinet, but at the next feels the pull of pure suffering. It’s impossible to get closer, for the space is protected by a mysterious glass jar, surrounded by a halo. Therefore, we have to be careful: modesty joins hands with charity, and creates this instant, made for withdrawal and meditation . . .

José Lobo, 2001.
From ‘Ana Maria Pacheco’s ‘Memória Roubada': A Latin American Work’ in  Collected Essays: texts on the work of Ana Maria Pacheco, pp.28-32, Pratt Contemporary, 2004.


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