Since the summer of 2015 I had been searching for the remains of textile factories in the territory of the former GDR. On a small country road I accidentally came across some military barracks, enormous, elongated and abandoned long ago almost hidden by trees and brushwood surrounding them. They belonged to some 10.000 soldiers and their families had been living here on a former air base
during the Soviet occupation basically in complete isolation from their surroundings. I jumped the barriers and ran all over the place, immense and silent, soothened by the color of the German autumn.
An eternal hallway of quadrangular section, hypnotizing, with countless rooms on its left and right, displayed in perfect symmetry. I was thinking of those thousands of Soviet families confined into this arquitecture made by a regime measure, not human tailor made, while shooting videos and pictures at the same time. A profound sensation of loss slowly slowly crept over me: the repetitive
alignment of space as the loss of individual identity. And the collocation of the rooms mirroring each other as the impossibleness to see yourself reflected in your counterpart. Or the negation of empathy.

Image: 1945-1992 (Brandenburg, 2015)
digital photography
COLLABORATION with the exhibition of Federico Guzmán. Palacio de Cristal, MNCARS – The Sahara is like a sea of silence where there are people resisting their exile. In the daily routine the waiting becomes less painful when the water becomes the drink making the words flow. It is the moment of the tea ceremony in the haimas. Federico Guzmán and Pilar Millán met for the first time in person in the Sahara on November 3, 2014, in the Refugee Camp for Saharawians 27 of February in Tindouf for creating this audio. Both artists were at this time immersed in the concept of the fabric as a container (means, vehicle, facilitator) for social contacts, communication. The cooperation between Federico Guzmán and Pilar Millán is an audio recreating the humming of the the tea kettle over the fire and the rhythmic echo of the glasses on the metal tablet, the sound of life in the haima.
Palacio de Cristal, MNCARS. Madrid, from April 16th to August 30th 2015
Imagen: Nó-madas (La haima de Muyeb) 2014-2015 Pilar Millán
looped digital video and wooden box originally made for a balance to weigh threads from the old customs in Barcelona. 14 x 46 x 11cm


Pilar Millan - TextumTEXTUM or weave, is a project that works with the theme of communication through words. In the myth it finds the metaphor of weaving words as the basis of language, and therefore the possibility of communication. A geographical itinerary provides the necessary sound and visual documentation for the project in the form of recordings. In the words of Chantal Maillard: “In Textum the word is established between the visual and the auditory. As Bartrihari understood it, there is no difference between sound and substance: forms are the visual manifestation of inaudible sound in all its tones. From there comes the idea of the creative word”*
*Project for the library by three artists: Eva Lootz, Chantal Maillard and Pilar Millán 2013.



Neilson Gallery – Curator: Alicia Chillida.

This travel of symbolic intermittences is loaded with ambivalent elements (just like the swinging of the loom), where the voice, represented through sound, and rhythm, represented by the moving image in the video, is conjured up and contained at times, muffled by tridimensional elements absorbing it, together with changes in the light: revealing or concealing it. The repetition of these rhythmic elements constitutes the foundation for a political-conceptual framework inside Millán’s oeuvre, underpinning an affirmation of the voice of women who narrate (or weave) from the edges of neglect and marginalization.*
Neilson Gallery. Fundación Provincial de Cultura de Cádiz, from September 5th to September 24th 2015
* www (Women, Weavers and Waves) (fragment- text of the digital catalog of the exhibition WO-MAN) Paz Ponce Pérez-Bustamante.
TEXTUM Grazalema | Cádiz 2010-2015 (Catálogo)



This project is based on the initial research carried out by the Lumière brothers and goes on to associate that research with situations that involve an important yet fragile part of our society.






VISUAL SPACE for the play The Night of Max Estrella, an adaptation of Valle-Inclán’s Bohemian Lights. These are abstract images that interpret the subconscious of the main character in this universal work. Commissioned by CAT and CDG, the visual space for the play is made up of projections of pieces created in video, photography and paint on paper which, in the words of Margarita Santos, “(…) create the mental reality of Max Estrella, his perception of the world around him, which the spectator appropriates to share with him, thanks to these images: clever artistic abstraction of the blind poet’s interior world which is the cause and effect of a complex exterior to which Max reacts”. .



Pilar Millan - Acaso mi sombraACASO MI SOMBRA. August 2009. I had just finished a project that had taken me all these long months since I returned from Africa. The final installation piece, nicely wrapped, waited patiently next to the boxes of paper pieces for the lorry to arrive. They would soon see the light. Alone in the garden, the branches of the termite nest rose up, bare of the mud that had covered it, and now part of the final installation piece. October 2009. The days go by. They become dense, almost solid. The sun seems to get cold. The shadows are cut short. I remember something Pliny said about drawing and I wander around my now-empty studio as if in a dream. I go out into the little garden surrounding it and, suddenly, I find myself in front of it.



Pilar Millan (Africa fem sing.)ÁFRICA (f., sing.) Three primitive elements that articulate the discourse in this project. Project- protest, where, from the recognition of the African woman comes the demand in the form of the final piece (the installation). This discourse is materialised in pieces based on paint on paper, video-installation, photographic series and the final installation. It was shown in two solo exhibitions in 2009 and 2010.