Pablo Sánchez developed two different works at the workshop for archives. The first of them has as a starting point the research realized at the unfinished archive of the National Youth Service (Servicio Nacional del Menor, SENAME). He coulp obtain nomenclatures from it and cyphers about the situation of children in social risk. The research drifts into the search of a subject exposed in the archive as a “case”: Children theirselves. Sánchez begins to collect pictures – selfies – which have been uploaded by SENAME’s children to the Net. These pictures are then turned into serially produce keychains, exhibited in big quantities. In a certain sense, the operation of inversion returns and unmasks the anonymity at the perception of those children who have been marginalized from the society. The keychain is a banal object and it turns into a sign of disarray and violence, a cheap object that now works as a vehicle for the face of the marginated child.

On the other side, the work concludes being an installation of bags marked with numbers. It’s the result of a process beginning with the inheritance of Sanchez’ grandmother’s calendar. The grandmother took daily note of what she was going to buy. It was a daily archive of a person losing her memory and beginning to write things that were senseless for anyone else. Sanchez takes this calendar and perforates it. He does the shopping she can’t do because she’s not there anymore. He buys, marks and archives the content putrefying as time goes by. The receptacles of these processes are then exhibited, showing interstices, in which cases we assume there wasn’t any else to be done. We finally come to contemplate at this work a residual senseles body, given the fact that the original subject in charge of giving a use to it, is not anymore existing. It thus signals the path to total absence, a living way to decay and total disappearance.