Irene González: ‘If Remembering Were Forgetting’ Exhibition Explores Memory in Málaga

The tension between memory and loss is at the heart of Málaga-based artist Irene González’s latest exhibition, “Si recordar fuera olvidar” (“If remembering were forgetting”), now open at La Térmica. The demonstrate, which runs through May 24, 2026, isn’t a straightforward presentation of recollection, but rather an exploration of how memory shifts, dissolves, and transforms – a quiet act of resistance against the relentless pace of the digital age.

González, who was previously an artist in residence at La Térmica in 2018, returns to the space – a former Casa de Misericordia orphanage – with a project that has evolved significantly over the past several years. The exhibition, co-produced with MARCO in Vigo, utilizes drawing as a central medium, executed with a deliberate slowness and attention to detail that contrasts sharply with the immediacy of contemporary life.

A Space Laden with History

The choice of La Térmica as a venue isn’t accidental. The building’s history as a shelter for children without resources adds a layer of resonance to González’s work, a silent acknowledgment of the stories embedded within the walls. As Patricia Verdial, the exhibition’s curator, noted, the space itself carries a historical and symbolic weight, influencing both the disposition of the artwork and its overall impact. The building’s past isn’t explicitly narrated within the exhibition, but rather felt as a subtle undercurrent.

González’s approach isn’t about fixing memory, but displacing it, transforming it. It’s a gesture of resistance, a deliberate slowing down in a world obsessed with speed. Manuel López Mestanza, the provincial deputy for Culture, described the exhibition as “an act of rebellion” against the contemporary emphasis on velocity, highlighting the province’s commitment to supporting artists with a contemporary perspective.

Drawing as a System, Not Just a Technique

The exhibition showcases González’s unique approach to drawing, elevating it beyond a mere technique to a fully-fledged system. Paper, folded, cut, and layered, takes on a sculptural dimension, creating images that are deliberately incomplete. Series of drawings function as open sequences, with pieces repeating and varying, suggesting an infinite potential for continuation. This echoes the idea that memory isn’t a static archive, but a fluid and evolving process.

Hands manipulating images, fragments referencing art history (Velázquez, Vermeer, Cooper, and Japanese culture are all cited as influences), and veiled scenes that require the viewer to actively participate in completing the image are all prominent features of the work. González isn’t interested in filling in the gaps, but rather in highlighting the power of absence. “The void, the margins, and the whites are not absence for the artist. ‘They are an active part of the work’,” according to exhibition notes. She explains her interest lies in “that moment when the image begins to disappear,” adding, “Remembering can too be transforming.”

Light and Perception at La Térmica

A key element of the exhibition is a mural specifically designed for the Sala 014 space at La Térmica. This piece incorporates a trompe-l’oeil effect, utilizing light to alter the viewer’s perception of the image. Notably, for the first time, the space has been opened to allow natural light to enter, causing the artwork to shift and change throughout the day. This reinforces the central theme of impermanence and the fluidity of memory. Nothing remains fixed.

A Continuing Trajectory

Irene González (born Málaga, 1988) earned her Fine Arts degree from the University of Granada and has been steadily building her artistic career since. Her work has been featured in solo exhibitions in Madrid, Andorra, and Tarragona, and she has participated in international art fairs such as Drawing Room and Drawing Now Paris. Her Instagram page offers a visual record of her artistic process and recent projects.

This return to La Térmica isn’t an isolated event, but a continuation of a dialogue that began during her 2018 residency. That period proved to be a turning point in her career, solidifying her focus on drawing, image, and memory. The exhibition is also linked to a cycle of cinema, with screenings of films by Tarkovski, Ozu, and Maya Deren, further exploring the themes of image, time, and memory.

Echoes of Dickinson and Shōnagon

The exhibition’s title itself, “Si recordar fuera olvidar,” is taken from a poem by Emily Dickinson, encapsulating the paradoxical idea that remembering can also be a form of forgetting. González further layers this concept with references to Sei Shōnagon’s “The Pillow Book,” reinforcing the notion of fragmented, non-linear memory, constantly being rewritten. The title isn’t presented as a definitive statement, but as an open question, inviting viewers to contemplate the complex relationship between past and present.

González’s work consistently demonstrates a commitment to persistence – series that could extend indefinitely, images that reappear in different forms, a personal archive built over more than a decade. She doesn’t offer closed images, but open processes. Drawings fold, scenes remain unresolved, and fragments demand sluggish, deliberate viewing. As the exhibition materials state, “In the work of Irene González, ‘remembering has never been a way of stopping time, but of continuing to work it.’”

The exhibition runs until May 24th, with visits possible Monday to Friday from 11:00 to 14:00 and 17:00 to 20:30, and Saturdays from 11:00 to 14:00. Admission is free, but subject to capacity. La Térmica’s website provides further details, including information about the accompanying film cycle. The opening reception took place on March 19th at 20:00.