“Indeed, it is this very push and pull that produces lieux de memoire-moments of history torn away from the movement of history, then returned; no longer quite life, not yet death, like shells on the shore when the sea of living memory has receded”.

Pierre Nora, Between Memory and History: Les Lieux de Mémoire

Raymond Hains and Jacques Villeglé are both, intricate examples of ‘décollage’ a practice by the end of the sixties that “involved tearing sections from compacted layers of posters or billboard advertisements to bring about collisions of imagery and lettering” (Hopkins, 2018).

This projects stems from a search of the personal in cultural identity and history. Posters from musical events are objects I have been fascinated by. They are pasted over and over each other until they become obsolete as they become increasingly torn down through time.

Through a number of years I collected posters I stripped off from the Mexican streets, scanned them and started to emulate a digital approach of a décollage, originally looking for a formal way to deconstruct these objects. Within these structures I included personal events, people from my past digitally overlaid. These posters were massively printed and finally reinserted/flyposted over other events by a paid service over specific areas through the Mexican streets. The result was a digital cathartic-emotional obsolescence which certainly had, as all our experiences, an extremely brief (as some people flyposted over them as I was documenting the process) yet trascendental meaning to ourselves, while futile or meaningless to others.