Developed over two years of sanitary restrictions and lockdowns, the works that make up the exhibition of Maureen Corvalán aim to conjure up the pandemic experience. In this sense, the confinements suffered in the pandemic were, at the same time, the pandemic of imprisonment in the image of our times, as well as the unbearable monotony of our loneliness restricted to the limits of our narcissism. In fact, the very title of the exhibition appears to suggest it. However, it is not a simple univocal evocation, since the quarantine memories are articulated to the return of other confinements, in various records, according to a multiple and diverse framework. If the physical distance during the quarantines turned out to be so excruciating, it was largely due to the prohibition of meeting others, the obstruction of the circulation of desire, which left us alone with ourselves. In effect, far from aiming at representation, the works in Maureen Corvalán’s exhibition have to do, in my opinion, with the limits of representation. Consequently, it is not so much a question of records or memory, but rather of remains and history.

Esteban Radiszcz/Verano de 2022