you Can get a selfi with Adela and keep you company while you listen to talk about his life as a boarder in the House of the Insane of Santa Isabel in Leganés (Madrid): “Anúlame of your life, but good god! Let me by the side of my children,” writes her husband. It is a letter that will never reach its destination. “Do you know where you sent me? Do you have idea even of what a madhouse?”, he chides. Adela lived locked up in the madhouse, from the beginning of the dictatorship, far from their five children, because of their dependence of the morphine, the only remedy that calmed the pain of the endometriosis I had. Her husband locked her in there, and 75 years after has been released by the artist Toxic Lesbian, the group inspired and the Institute of History of the Consejo Superior de Investigaciones Científicas (CSIC), have created an app that rescues its history and its presence of oblivion.
they Have put the new technologies at the service of the historical memory, have made the augmented reality to make aware to the users of The wind of the presence that has passed in their lives. Have broken the silence with the same method you hunt for Pokémon on the street. From the mobile device intended to Spain to discuss what has happened. Adela is the first of the stories of women represaliadas in psychiatric during the post-war period that will be appearing, little by little, in the application.
The intention is clear: “do Not move to the side of pain with indifference, because you can not tell the society without having pain and without having them. We cannot be permanently outside the suffering. It may be hard, but it is very satisfying to recover the justice. The injustice itself that is suffering,” says Toxic Lesbian in his study, as it shows how Adela appears, suddenly, in the hallway of your home captured by your smartphone. Sits and writes the letter there, along with a large glass of a luminous building of Malasaña, in 2019, played by Leticia Moya, a member of the collective that is inspired.
Icon of the App ‘in The wind’, with Avery as the main character. The Country
“Spain has been a pure prophylaxis until the time. Has preferred not to touch his memory, but it is important that as women we build an idea of who we have been and what we have suffered. We need to create our own story and discover the repression to end this society of critical spirit sleepy,” explains Toxic Lesbian, whose work arises from the use and conversion of new technologies into the purposes of community, non-commercial use. Turn off the system from the heart of the same (it is already available for free in Google Play and has been produced with the Aid of the Creation of the Community of Madrid).
learned of the story of Adela, thanks to the book Letters from the asylum (published by Waterfall in the last year), where the specialists in psychiatry Olga Villasante, Ruth Candela, Ana Conseglieri, Paloma Vázquez de la Torre, Raquel Tender and Rafael Huertas collected the experiences of the internment, just as they would recount the sick, from 1852 until 1952. The project of Toxic Lesbian is focused on the political use of psychiatry during the dictatorship, “with the techniques of repression that the doctor Vallejo-Nájera was brought from nazi Germany”, explains the artist. “Come in without diagnostics and have just turned upside down,” he adds.
it Was important to rescue the day-to-day in the madhouse, with the absence of rights of women in detention. It was also important to recover the first person of the victims. “Your own voice. Sick with a mental health diagnosis have been excluded and still are. But being empowered with their own experiences, and a political dimension,” says the artist.
The disturbing presence of Adela in our more intimate environment warns of loneliness and invisibility in the who have been these testimonies, and these women. “The society would be much less violent if we heard more of the women. So now we have made an app, do we obey more now or you will continue hunting Pokémon Go and ignoring?”, is question Toxic Lesbian, which defines The wind as a work of art without an object, that is to say, a work of art “anti-capitalist”. Sample photos of Avery next to the washing machine or in the center of a group of women that observe and serve. It is the language you speak, the more youth, the reality reconstructed in their phones, because “to them that make them think to not warm up the languages fascists”, says the artist, determined to increase the reality to not forget about the women.
