Remainings 2025
En el Cerro de las Campanas, Querétaro, versión I,
En San Ildefonso en el Centro de la Ciudad de México,
En el Cerro de las Campanas, Querétaro, versión II, 2025, oil on canvas and transparent fabric, 150 x 200 cm. Front view
En el Cerro de las Campanas, Querétaro, versión II, 2025, oil on canvas and transparent fabric, 150 x 200 cm. Front view
En la Montaña del Príncipe, Madrid, 2025, oil on canvas and tranparent fabric, 100 x 150 cm. Front view
En la Montaña del Príncipe, Madrid, 2025, oil on canvas and tranparent fabric, 100 x 150 cm. Side view
En la Rivera del Rin, Düsseldorf, 2025, oil on canvas and transparent fabric, 100 x 150 cm. Front view
En la Rivera del Rin, Düsseldorf, 2025, oil on canvas and transparent fabric, 100 x 150 cm. Side view
En Gallipoli, 2025, oil on canvas and transparent fabric, 150 x 290. Front view
En Gallipoli, 2025, oil on canvas and transparent fabric, 150 x 290. Side view
This project begins with Manet’s fragmented and censored Execution of Emperor Maximilian, using it to explore how images become sites of political truth—and how power erases them. In dialogue with Goya’s El tres de mayo, it highlights painting as an act of resistance against imperial violence and historical silence. By focusing on the only intact Mannheim version, I trace the afterlife of censorship: a subdued yet persistent political memory. My series Remainings turns landscapes and paintings into ghost zones where visibility and erasure quietly coexist.