The Estate of Anonymous (Translation V)

Erased. Views of the stolen city

An instalation by Carlos Miranda based on Anonymous´walks
If, in its previous translation (Imprimerie des mots) the cyclical nature of Anonymous reveals that his usual claustrophilia is compensated for by moments of claustrophobia, turning him into a flâneur of the city's most inhospitable parts, on this occasion, our subject-house once again finds itself on the opposite side of the subject-city. Clearly, it is a case of full-blown schizophrenia. However, in this case, the neglected remains of photographic negatives, fruit of these walks, that Polaroid Star gave Miranda for translation, are particularly surprising, evoking strikingly vedute, compositions, so that the translation appears unable to avoid overshadowing the transfer, creating definitive pieces framed in nineteenth century ostentation, adapted to tastes of the past. This chapter allows us to infer, through the projection of our urban subject-city-- a ravished area called Borrada, that Anonymous is indeed a victim of his continuous anti-representational speculations which, through urban speculation, erase his tracks over the map. In the display, these views are installed over wall coverings that reproduce a city map, a map filled with erasures destroying its design. And this same motif is found on a wall tile and on a hydraulic cement floor. Thus, we observe that if the destroyed landscape was a privileged way of describing the existential condition of the modern subject, the re-reading of the same through this work provides us with an update on this subject in the face of downfall—the subject's downfall. The downfall of Anonymous that here takes form of the contemporary city–representing the ideal site of the man's emancipation – is presented in the raw harshness of the mobbing and destruction of the city's historic urban centre, or of the last stronghold of metropolitan nature urbanization, the beaches. This series of photos-pictures serves as an allegorical map using the beauty of the landscaping to reveal the innards of a monster. The monster within Anonymous – within us all - silently feeding on a heritage and above all, on our current way of life, in these beautiful lands, a sharp piece of the mirror through which we see ourselves being robbed or, in the words of the installation, being "erased".


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