No memory. Cities in the world

At a time of collective Alzheimer’s and of a future invisible amid the dust of collapse, in a state of shock-induced blindness and of need for absolutes, the exhibition No Memory, with its forceful photographic diptychs and its shoring-like intervention in the half-light, reminds us, urges us to turn our heads towards the heart, towards where we come from, and above all towards our very need to rest on the memory of shared reality, to consolidate what we have in common. In doing so it not only takes a stance but also fixes and reveals the infrathin nature of the palimpsest of time within the stability of the territory.

In No Memory, Suárez takes all this a little further: most solidly in the part of the exhibition where he has intervened in the art centre’s own space with construction props that hold up its ceiling and protect us from a hypothetical collapse. Once again, as in Ciudad Satélite, construction is invoked, in a perhaps mocking comment on the new use to which such materials and tools can now be put — only a few years ago the pillar (never was a word more apt) and sign of the country’s economic prosperity.

— Abel H. Pozuelo, catálogo de la exposición (CMAE, Avilés, enero de 2013)