THE MEMORY OF TIME
Family correspondence from the first half of the twentieth century being stored in boxes, and old photographs carefully arranged in albums: this discovery was to push me into a project that would take the form of a self-reflection, on the traces of a family past that was largely unknown to me, in search of myself and the other. The tools that would help me in such project would be related to the imaginary, aesthetics, to images, representations, collective memory and visual anthropology. I was going to implicitly construct another myself: a being of the in-between, a passer-by. The version of family history staged in my project would be coupled with my individual interpretation: failing to refresh a non-existent memory, I would fabricate the memory of a non-existing memory, and thus embark on a vast narcissistic enterprise of self-confirmation. I will remember but with no hope of ever reconstructing the exact content of that memory.