In that Chiaroscuro
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The specific interest of the new sovereign forces -which we could consider as a kind of victors– resides in the discrediting and deactivation of alternative memories that distrust or question the validity of the official memory and struggle, at the same time, to obtain a more plausible account of the past.

In this attempt to show a single truth –as in the case of the Transición process in Spain– the official version also manifests an intention to conceal. The power promotes a type of historical memory about the past that hinders and obstructs alternative forms of interpretation, with an explicit will to build what the artist calls “Policies of Oblivion”.

In spite of the will of the State to appear calm and orderly during the years of the Spanish Transition, the violent and repressive activity of Franco’s remnants in the armed institutions pursued in an effective way the neutralization of those social and political sectors that defended a process of rupture with the dictatorship.

In his piece En ese claroscuro [In that Chiaroscuro], Alán Carrasco invites us to rethink and question the hegemonic narrative, showing in a forceful linear installation the days of the Transition that have been made invisible: each and every one of the days in which there was deadly violence sponsored or promoted by the State itself.