"I will not be ashamed of my sadness, of my nostalgia," said the Argentine poet and activist Juan Gelman, demanding justice for the disappearance of his son and daughter-in-law at the hands of agents of the dictatorship. The exhibition Under the Rain of Others is inspired by the book of the same title written by the author during his exile in Rome in 1980, which draws a fierce critique of the military regime while situating memory as a process of personal and collective reconstruction, a duty that belongs to us all.
 
What stories are we ready to tell and how are we ready to listen to them? The works of Hannah Claus, Till Roeskens, Pablo Gershanik and Jo Ractliffe share as their point of origin the post-traumatic processes from the political and spatial reconstruction of mourning from the Aboriginal feminicides in Canada, the occupation of the Palestinian territories, the dictatorial regime in Argentina and the apartheid in South Africa. Through performance, installation and video, the exhibition presents the spectral landscape of the past that haunts us unwaveringly to announce the need for awareness, for transformation. 

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To capture the anachronisms of historical trauma, Gelman explains that "it is difficult to reconstruct what happened; the truth of memory fights against the memory of truth." By spatializing absence through various testimonies, images, and activations, the works return to affect from its capacities to heal and restore collective experience. But it is also a question of reconstructing the symbolic territories of memory as the symptom of a repressed knowledge that calls into question the future based on the avoidance of traumatic experiences and painful knowledge. In this way, the works gathered here are an antidote against the impulses of historical amnesia and the intimidation of silence. 

Under the Rain of Others probes resilience, empathy, and struggles for memory, as Elizabeth Jelin would say, from the reenactment of art narratives.