{"id":300463,"date":"2022-11-11T14:27:32","date_gmt":"2022-11-11T13:27:32","guid":{"rendered":"https:\/\/pisofranco.gal\/artigos\/2022\/11\/11\/sen-memoria-non-nos-queda-paraiso-300463\/"},"modified":"2022-11-11T14:52:10","modified_gmt":"2022-11-11T13:52:10","slug":"sen-memoria-non-nos-queda-paraiso","status":"publish","type":"post","link":"https:\/\/pisofranco.gal\/en\/artigos\/2022\/11\/11\/sen-memoria-non-nos-queda-paraiso-300463\/","title":{"rendered":"Whithout memory does not remain us paradise"},"content":{"rendered":"<p>In Muros no longer there is paradise. Now there is a supermarket. We were changing the rooms of party by tents and&nbsp;&nbsp;have to understand that we change a model of leisure to touch&nbsp;&nbsp;by one to spend. That is the starting point for the last work of Ch\u00e9vere,&nbsp;<em>Eroski Para\u00edso<\/em>. That, as everything in these days, raise in the Transition. In which it goes of the past to the memory.<\/p><p>The memory is a form of fiction. Like the ego. Like the truths half. Like the money. It prefers the coherence to the reality, is more loyal that faithful. If tighten a lot the argument it would be necessary to say that the memory is the biggest form of fiction because it achieves to spend us to the places that no longer are and, one and again, do spend the histories by realities. The memory is effective because it is fiction. Because all what counts&nbsp;&nbsp;is fiction. And the memory counts.<\/p><p>Ch\u00e9vere rubs the memory<em>.<\/em>&nbsp;It finds&nbsp;&nbsp;ahead with her while it looks for the signals of the belonging. The new setting of Ch\u00e9vere documents a time that was. It does it by contrast because while it rescues the images of the past is obliging to&nbsp;&nbsp;the spectators to do comparisons with the present. It is not that it was necessary to take conclusions, is that they are here. Neither now, neither then. The present is bad and there is not spent well. The past only is anterior. But past and memory are not the same thing by more than there is a lot of people confusing, can that deliberately, the two terms.<\/p><p><em>Eroski Para\u00edso<\/em>&nbsp;reconstructs a past. It is a next past. Of immediately before to that there was chalets attached in Galicia. A bit before the shoulder pads in the jackets. A minute before the world left to be analog. Now it can look another period, but is this same of now without Twitter. Ch\u00e9vere proposes a history in which a film wants to reconstruct a moment. Like this it is how it operates the memory, looking for in the data and organising the facts like an image in movement. Like this it is like the memory counts us the past.<\/p><p>Ch\u00e9vere Does reconstruction, but no biography. It takes the starting point and the point of arrival. The of in half is known of the spectator, although no by the newscast. What there is in half among the room of parties Para\u012bso and the supermarket that now occupies his place in Muros is this defeat announced how victory: the one of the deception of classes, the one of the paradise of the half class, the one of the Galicia asphalted. The company explains the now and the before on the same line, like a consequence interpreted. Like a flashback live and can that this was the only realistic way to do it: to the past only travels&nbsp;&nbsp;from here. The rest is science fiction and is not what proposes Ch\u00e9vere. What proposes the company is to bend the time and do that two moments coincide in the same space. In this territory goes on a lot of histories, many of them familiar, the more than them sentimental, there are some comics and some others that loom with drama. But everything is contained by this distance that the memory imposes to the facts. This distance that in occasions looks friendliness and that also can pass off as historical objectivity.&nbsp;<em>Eroski Para\u00edso<\/em>handles&nbsp;&nbsp;in this distance. The suitable distance.<\/p><p>This distance among the recovery seriously of the roots and leave that the memory&nbsp;&nbsp;do owner of some comicity. In the work, Ch\u00e9vere bends&nbsp;&nbsp;more to do comedy. Neither light. Has his part of sentimental and almost at all of parody, although it goes coming close this language, so usual in the company. In some sense,&nbsp;<em>Eroski Para\u00edso<\/em>&nbsp;uses the arms of the parody to arrive to another gender. As if on the way of looking for in the past always appeared some old photos and there is not way to be hard with them. The work initiates a luck of investigation on going back to the place to the that belonged&nbsp;&nbsp;and finds that the memory is bad to guide. It can be that the material of the that is born the work, the experiences of the neighbors of Walls, come close against this side. It can be this varnish with which the memory furnishes the histories or can be that these histories or look&nbsp;&nbsp;like this or leave&nbsp;&nbsp;rest in peace. They are subjects very serious as to do a drama with them. The work looks for in the detail the confirm of a reality that was. Because Ch\u00e9vere taking like starting point a space and some recognizable experiences: dances of tip in target and sandwiches of squids. Couples that&nbsp;&nbsp;pregnant, parents that emigrate to work with daughters that emigrate to study. Well looked, the same life of Galicia. Or perhaps no. There will be a class that does not seat&nbsp;&nbsp;recognized in this history further of the folklore or of the humor. It is everything in east relate that somebody is reconstructing for the cinema and even so Ch\u00e9vere does not want to go to the document. Because, the same that the memory is not the past, the theatre is not the reality.&nbsp;<\/p><p>With the memory spends us as to the United States with the general Noriega. It can be bad, twisted or treacherous. It can be the worst of the world, but is ours.\u00a0<em>Eroski Para\u00edso<\/em>\u00a0takes loaned some histories and moves them with lightness and with humor but almost without parody. It could be that without parody and without nostalgia. But this liquid matter that it is the memory resists\u00a0\u00a0a lot to be considered without this last patina. The work defines a line more than fund, perhaps like a consequence, of how move\u00a0\u00a0the machines of the past to turn\u00a0\u00a0narration: the collective memory is sourer that the individual.<\/p><p class=\"wp-block-verse\">Publshed in T\u00e1boa Redonda. El Progreso. April, 11. 2016<\/p>","protected":false},"excerpt":{"rendered":"<p>In Muros no longer there is paradise. Now there is a supermarket. We were changing the rooms of party by tents and&nbsp;&nbsp;have to understand that we change a model of leisure to touch&nbsp;&nbsp;by one to spend. That is the starting point for the last work of Ch\u00e9vere,&nbsp;Eroski Para\u00edso. That, as everything in these days, raise &hellip;<\/p>\n","protected":false},"author":51,"featured_media":300386,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_members_access_role":[],"_members_access_error":""},"categories":[93],"tags":[],"class_list":["post-300463","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticims"],"acf":[],"post_template":"narrativa","post_subscription":"no","pretitle":"","content_extract":"In Muros no longer there is paradise. Now there is a supermarket. We were changing the rooms of party by tents and&nbsp;&nbsp;have to understand that we change a model of leisure to touch&nbsp;&nbsp;by one to spend. That is the starting point for the last work of Ch\u00e9vere,&nbsp;Eroski Para\u00edso. That, as everything in these days, raise...","reading_data":{"word_count":"990","reading_seconds":"237","reading_time":{"minutes":3,"hours":0,"seconds":57},"reading_string":"3'57''","reading_human":"4 minutos"},"announcement":{"finishdate":"","finishdate_text":""},"opinion":{"subject":"","subject_info":[]},"event_info":{"startdate":"","starttime":"","enddate":"","endtime":"","entertainer":null},"interview":{"interviewed":""},"phototext":{"text_author":"","text_photo":""},"video":{"video_source":""},"promotion":{"action":"default","action_data":""},"categories_list":[{"name":"Criticims","id":93,"slug":"criticims","parent":0,"template":"default"}],"visible_author":"Camilo Franco","_links":{"self":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/300463"}],"collection":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/comments?post=300463"}],"version-history":[{"count":2,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/300463\/revisions"}],"predecessor-version":[{"id":300683,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/300463\/revisions\/300683"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media\/300386"}],"wp:attachment":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media?parent=300463"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/categories?post=300463"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/tags?post=300463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}