Concept

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We see a woman immersed in a neutral white. The woman sits in front of a television that transmits statics. But then we see something sticking out from the screen: a red woolen thread. The woman grabs the thread and pulls it. At that point, the TV starts transmitting a series of images of the Sixties in America: propaganda films and old commercials, the journey of a man in space, and a nuclear testing site. It's like the red thread that she is now beginning to knit is the thread of time, as if in its unraveling it is unraveled the history of that period, in a web of contradictory images.

 

1965 is a symbolic year that summarizes all the contradictions of the world recovered from the Second World War. There is a feverish push towards the future accompanied by hysterical terror for the present threatened by the Cold War and inflamed by the spread of the civil rights movements.

While industrial design, fashion, art, and literature are projected to futuristic scenarios, blind ancestral violence seems to dominate everyday life.

 

The images in the TV continue to run while the woman continues to knit as if she is some kind of divinity that weaves the plot of Time. For this reason, the images end on the words of Malcolm X, which I chose as the emblematic image of a period so intense and contradictory in human history.

In 1965, Malcolm X was killed in a climate of intoxication and violence in which the highest aspirations of the human spirit seem to struggle to break free from the shackles of the lower impulses.

 

The woman assists, inert, while the woolen thread is finished. The time is up. The images wrapped in the red woolen thread became a bandage with which she covers her eyes.

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