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In 2018, Lucrecia Lionti came to Barcelona for the first time. From a new space she was facing a death. Of all that she did in those days, I remember two things: she went to see the sea, thinking of her father, and she visited Oscar Masotta solo exhibition at the MACBA. She told me how deeply she was struck by Masotta’s letters to his mother, in which he wrote that he was losing his voice. Thinking of that, I remembered those Thursdays in the late eighties and early nineties when my grandmother Rosa and her sisters gathered us grandchildren for tea and shared stories. One of the stories they repeated most often was that of her aunt Cèlia, the writer of the family, who went blind at the age of sixty‑five. “A blind writer,” they would say, with a tone of both amazement and resignation, the kind required by the contradictory destinies in Lacanian tales.
It is the year 2026; the Three Kings have brought my five‑year‑old daughter a tiny loom. I have not woven since I was in elementary…
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In 2018, Lucrecia Lionti came to Barcelona for the first time. From a new space she was facing a death. Of all that she did in those days, I remember two things: she went to see the sea, thinking of her father, and she visited Oscar Masotta solo exhibition at the MACBA. She told me how deeply she was struck by Masotta’s letters to his mother, in which he wrote that he was losing his voice. Thinking of that, I remembered those Thursdays in the late eighties and early nineties when my grandmother Rosa and her sisters gathered us grandchildren for tea and shared stories. One of the stories they repeated most often was that of her aunt Cèlia, the writer of the family, who went blind at the age of sixty‑five. “A blind writer,” they would say, with a tone of both amazement and resignation, the kind required by the contradictory destinies in Lacanian tales.
It is the year 2026; the Three Kings have brought my five‑year‑old daughter a tiny loom. I have not woven since I was in elementary…
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