The Peruvian poet Montserrat Álvarez published Zona Dark in 1990, a collection of poems that sought to give form to the experience of being young in a capital in darkness. Lima at the end of the 1980s was a deeply unstable city, corroded by the armed conflict between terrorism and the state and by the almost total disintegration of the body of its people.

Zona Dark could be understood as a 'somatic zone' that represents that uncomfortable dwelling between the space of the real and the theatrical-phantasmagorical as evoked by Álvarez.

Zona Dark manages to make room for the multiple voices that operate internally in moments of maximum external agitation.

Zona Dark is very topical and the figure and poetry of Montserrat Álvarez interests me greatly not only as an allusion to a very tense moment in Peru's recent history (which was a very tense moment in Peru's recent history), but also as an allusion to a very tense moment in Peru's recent history.
in Peru's recent history (which could well resonate with similar collective experiences) but also because of how the poet responds, through her writing, to the darkness, unease and melancholy of her time, which becomes our own.

The series of images gathered under the title M.A año 24 includes the partial reproduction of four texts by Álvarez as well as a portrait of the poet. To this material I have added a cast of images coming mostly from what we could call 'our present time'. The images are repeated and unfolded - there is something unintentionally allegorical and polysemic that is constructed in the process - until they are erased (or confused) with each other. The images repeat and unfold until Álvarez's poems end up being contaminated by the debris of the present.

With the exception of Extraño trato con un trabajador cualificado nº 1, a yellow column that I produced in 2021 and inside of which we find different
worker's uniforms, the rest of the three-dimensional works are recent. GGG (RAL 209) has something of a totem, a torture machine and a grammatical sign. The two untitled plaster works are the same width as the side rail of my flat door, and the series of stainless steel sculptures, initially intended as (oversized) representations of squares, found their final form when I discovered the design of a mousetrap devised by Carl Bender at the end of the 19th century.