Olvidados del tiempo

(…) In order to hear the aphonia of memory, which is always mutilated, as Sigmund Freud pointed out­, it is necessary to first take refuge among the silent facets of oblivion. Antonio Muñoz Molina notes that it is there that he imagines Juan Baraja,[1] in that fissure between the one and the other: forgotten by time, between lights and shadows, a camera next to him, in the darkness, resigned to the waiting.

It is a fool’s errand to strive to delimit the forgotten, to try to shed light on its protagonists, to pursue it with a lens or even to set oneself up as a teller of its possible imaginary. Nevertheless, it may be worth the effort. When all is said and done, the realms of the eye, of thought and of art are riddled by what would seem to be fool’s errands and, almost always, unveilings (…)