Elia Arce's "No Time to Mourn (An Excerpt)" is a haunting tribute to the power of collective grief, defying traditional notions of mourning and monument-making. The performance, which premiered in Houston, Los Angeles, and New York City earlier this year, takes the form of a ritualistic dance between two figures: a woman in a yellow tunic dress who tenderly folds a massive cloth train into a bundle, symbolizing the lifeless body it represents; and a shrouded figure at the far end of the stage, which cradles the bundle with arms that slowly emerge from its dark garb.
This poignant tableau is accompanied by Arce's own Spanish poem "grietas y fisuras," ("cracks and fissures"), delivered in a sonorous voice that alternates between lamentation and melancholic reflection. The performance is not just a personal expression of grief but also an exploration of the shared human experience, as Arce emphasizes throughout her interviews that the audience's collective presence in these gatherings transforms their individual pain into communal catharsis.
By turning away from traditional monuments, which often convey singular narratives, Arce creates "living monuments" – works that embody a communal understanding of humanity and its relationship with loss. This concept is not meant to dismiss the significance of individual experiences but rather reorient our attention towards the shared dimensions of human suffering, acknowledging the interconnectedness that transcends borders and cultural contexts.
Through her performance, Arce invites us to witness, bear witness, and ultimately find a sense of solace in collective remembrance. In doing so, she reminds us that grief is not something we must carry alone but can be transformed into a shared, communal ritual – one that underscores the transformative power of empathy, community, and mutual support. As Arce herself describes it, "No Time to Mourn (An Excerpt)" becomes a testament to the enduring human capacity for resilience in the face of loss and a poignant tribute to those who have been taken from us too soon.
This poignant tableau is accompanied by Arce's own Spanish poem "grietas y fisuras," ("cracks and fissures"), delivered in a sonorous voice that alternates between lamentation and melancholic reflection. The performance is not just a personal expression of grief but also an exploration of the shared human experience, as Arce emphasizes throughout her interviews that the audience's collective presence in these gatherings transforms their individual pain into communal catharsis.
By turning away from traditional monuments, which often convey singular narratives, Arce creates "living monuments" – works that embody a communal understanding of humanity and its relationship with loss. This concept is not meant to dismiss the significance of individual experiences but rather reorient our attention towards the shared dimensions of human suffering, acknowledging the interconnectedness that transcends borders and cultural contexts.
Through her performance, Arce invites us to witness, bear witness, and ultimately find a sense of solace in collective remembrance. In doing so, she reminds us that grief is not something we must carry alone but can be transformed into a shared, communal ritual – one that underscores the transformative power of empathy, community, and mutual support. As Arce herself describes it, "No Time to Mourn (An Excerpt)" becomes a testament to the enduring human capacity for resilience in the face of loss and a poignant tribute to those who have been taken from us too soon.