The reconstruction of a lost buiding supposes an efford of return on time, of return to a lost image. While an hipotesis draws what the building could have been, the ruin insists in diluting. Aqueology and photography have an strange relationship. Their mutual alienity appears in ancient archeological photos, as the meeting of two worlds: the ruin and the camera. Camera and archeology develope different time administrations. Aqueology use of excavation method is because of considering the ruin —a body which insists on its disappearing— as an agregated of time. The problem is that time agregation writing is a writing of emptyness. Archeology’s program is a virtual rebuilding of a lost instant using this extinction text. On the other hand, photography registers the impossibility of the original instant, the original image. When it is used as a layer index —during the excavation— it only obtains insistinly an empty presence; there is not recovered instant on the image, but an empty lost present.
The interstitial margin that confuses the limit of the excavated ruin and the open field is occupied by the routine of certain animals that divert the meaning of the architecture, of its loss, of its reconstruction, of its image. Faced with the desire to remake a lost image, the animals develop an alternative by which his writings are radically deinscriptive, dissolving. On the one hand, a story that is falling apart and trying to be reconstructed; on the other, a process of de-writing, de-inscription, that dilutes it, that fragments it.
El proyecto se desarrolló a lo largo de 3 meses en el recinto arqueológico de Medinat Al-Azahara, que fue abandonado alredededor del 960 d.C.El campo de prospecciones se extiende en la ladera Este del Guadalquivir. El Salón Rico que se registra en su estado de reconstrucción,