The work La Biblioteca de la No-Historia/ Preguntas y respuestas consists of the continuation of the research I have done with the works La Bibiblioteca de la No-Historia in Santiago de Chile and at the Kunstmuseum in Bern during 2010 and 2011 and also readapted to be exhibited at the Istanbul Biennial during 2011. It also gives continuity to the research of the work La No-Historia, exhibited at the Mercosur Biennial in 2011. In these exhibitions, books were produced and made available to the public, who could take them in exchange for an answer to the question: What are you going to do with this? or What place will you assign to this book? Thus, the series of works and exhibitions generated subjective response cards from the people who decided to take a book.

La Biblioteca de la No-Historia/ Preguntas y respuestas is drawn from two archival materials: documents declassified by the CIA and other U.S. intelligence agencies and the archive of responses from previous versions of the book. The files declassified by the CIA refer to the historical period from 1960 to 1991 and correspond to files from Chile and the Southern Cone of Latin America (Argentina, Brazil, Chile, Uruguay and Paraguay). The Chilean files constitute the largest volume of documents ever made public by the U.S. on matters concerning a foreign country.

Part of the books produced for Toulouse is a selection and revision of 70,000 files, reclassified according to their main material characteristic: the struggle between text information and redaction of censorship, a graphic element that contradictorily makes it possible for the file to be made public. The books generated from these archives consider in their edition the proportions of strikethroughs and texts, proposing a reading based on visual information and not only on textual information. Given the difficulty of reading, produced by the fragmentation that the redactions impose on the texts and their lack of chronological classification, the informative chaos is revealed as traumatic, showing a period of interventions and negotiations in which, access and freedom of information were captured and which we propose as a metaphor of history.

The other part of the books produced for Printemps de Toulouse consists of the edition of the handwritten responses that various people, in different places and languages, decided to express themselves subjectively in relation to this material. The responses are very dissimilar and point to a personal and subjective reaction to the information that constitutes the story. Including these responses in this new work, aims to tension the way we relate to the information, or lack of it, and how they appear in the work the encounter between information documents of macro-historical events and the individual shock that it produces in us, present as a general line of my work in what I have called Historia-Histeria (History-Hysteria).