Exhibition Review: Photography | Brian Rope
Volver (The Return) | Judith Martinez Estrada
Photo Access | 15 March 2024 – 27 April 2024
Two exhibitions running concurrently at Photo Access explore identity and memory, in quite different ways. Volver (The Return) is one of them. The artist Judith Martinez Estrada has focussed on migration as well. Starting in 2017, she comprehensively explored her paternal family’s apartment in Madrid, which they had rented for more than 100 years. Unearthing photos, documents and other material relating to her family gave her a significant volume of mixed media to which she has applied a variety of techniques.
Three babies had been born at the flat. Two people had died there. A century of family life had been lived there with all its highs and lows. The family’s history and the memories of all who had lived there was powerful and very much overlapped. As the relationship between the apartment and the artist’s grandparents, aunt and parents changed, so the memories altered - as they tend to for many, if not most, of us. As we get older we sometimes forget things long remembered. Sometimes we recall things from our early years which we have not thought of for a long time, if ever. Personally, my earliest knowledge of family history comes not from actual memories of the events but from hearing a story told over and over. Sometimes we are unsure whether an apparent memory is a real one.
So, what is the artist revealing to us here of this significant treasure of her family’s memories? Charu Maithani’s catalogue essay provides considerable background. Her documentation of the apartment became the catalyst in Martinez Estrada’s practice that brings together personal and political histories alongside archival and digital artistic techniques. Working with layers she creates a temporal and spatial juxtaposition of memories and objects. Each layer in the works creates spaces for remembrances to be added, including ones we do not know of yet. Layering allows multiple entry points and numerous recollections and half-rememberings to coexist.
In series of works entitled Family Biographies, photos and a variety of documents are held together using various means, such as rubber bands and paper clips. Has this been done to hide some of the past, the memories, the history? What else is there in the closed book, on the notebook pages not visible to us, in the photos hidden behind the top ones? Or are the assembled objects being presented to us as a symbol, telling us that the apartment which binds family members together will continue to draw back those still living?
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| Family-Biographies-Biografias-Familiares-XII-2018 - installation image provided by Photo Access |
Another
series Unknown Portraits uses strips to cover faces, thereby further
hiding the already unknown identity of the people photographed at an unknown
time in the past.
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| Unknown-Portraits-Retratos-Desconocidos-II-2018 - installation image provided by Photo Access |
Two prints exhibited side by side share the title When God Left. The left side one spoke clearly to me of a god. A hand gesturing towards us is familiar to all who grew up attending Christian schools or churches. Here though we also see a nail hole telling us the artwork partially included is of Christ after his crucifixion – when he had left his earthly life. A video work tells us that Estrada’s grandfather played a role in the relocation and protection of artwork during the Spanish Civil War. Also displayed is a reproduction of an official commendation for that work. His granddaughter is now tracing and recreating the journeys he made transporting artworks from Madrid to Valencia. Did this painting of Christ belong to Grandfather Ramon?
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| When-God-Left-I-2018 - installation image provided by Photo Access |
Old images of grandparent’s Ramon and Emilia are on display, overlaid on new images of things in the apartment.
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| Ramon-II-2019 - installation image provided by Photo Access |
There is much more to see, explore and consider in this fine exhibition. If you are able to do so, visit the gallery whilst this and its companion exhibition (also about identity and memory) are showing. If you can’t get there, at least take a look at some of her other works here or on her Instagram account.
This review is also available on the author's blog here.
