The Holocaust Memorial in Berlin is a unique sculptural and urban event presented as a tribute of great poetic power to the victims of the extermination. Moving away from purely archival solutions, its value lies in the imposing physical presence and metaphorical abstraction. The controversy and debates present in German society and the groups of victims as a result of this proposal led to an intense political exercise on historical memory. The labyrinthine plot drawn by the monolithic cement blocks seems to suggest the itineraries to be traversed to become aware of individual and collective responsibility in the dramas of history.

With the camera mounted on my arm, I take a walk inside this space. The camera records a sequence shot of the hand by continuously moving two shiny metal balls inside the palm. The balls reflect the counterfield of the action, its spatial context. The sound of rubbing is also mixed with the sound of the environment. As I do this kinetic exercise, I try to remember and name as many military operation names as possible. The action ends with the return to the point where the route started. The balls are stored in their case as another tool of the productive activity linked to creation.

The repetition of the same rotating gesture during the course creates a hypnotic suspension of time, the space rotates from the reflection in the balls. This automated movement becomes a ritual gesture similar to that of some meditation practices. The deep awareness of space and time linked to the body allows to intensify the poetic and intellectual experience of a space of commemoration.