With Imaginarium, I wanted to address the subject of memory linked to the public space of the city of Buenos Aires, filming its most representative sculptures and monuments or those that struck me the most. In this way, my intention was to leave open questions regarding the representation of historic events and important figures, myths and other fictions, through the city's sculptures: What is a monument? What representations do they construct in our social imaginary? What kind of gaze looks at the monuments and travels through the spaces where they are found? What visual links and breaks may be found between a monument and its surroundings in public squares, streets, and buildings?

This short film was shot in Super 8 format and its proposal of editing on camera is based on the tradition of structuralist film and the avant-garde. Thus, the images were captured exploring different shutter speeds, exposures, camera movements, and all the means that would make it possible to catch more than 200 sculptures in Buenos Aires. These visual resources also allowed me to position my gaze as a filmmaker in a more awkward place and enabled other ways of visually recording the monuments, different from the tourist or institutional glance. 

I also reinforced this—at times vertiginous—direct edition with the sound, by recording the various soundscapes of the places where the monuments are located, and later distorting or superimposing them to make them unrecognizable and, in this way, suggest a gap or distance in relation to the place or environment from which we look at monuments or their symbolic representations. 

At a more intimate level, the short is also a tie with my personal memory, because there is a desire to traverse the city and hold on to the memory of the places I like to visit. But by filming only the monuments these spaces remained out of frame, which also poses a certain impossibility or inherent longing to memories.