Nº1-TIME
1. "If you increase the normal duration of a sequence, you get bored first, but if you increase it further, interest grows, and if you even increase it more, a new quality and intensity emerge." (Andrei Tarkovski)
Time is the work! The author and the viewer are committed to shaping a new time other than watches and beats of heart. In that time, the space first emerges and the work gradually.
Nº2-SPACE
2. "Then in what way ...? By collision, by the conflict of two opposing pieces, one by the other. By conflict and collision." (Sergei Eisenstein)
The creation of space will respond to these factors, but remember, the great collision is against the vacuum and the greatest conflict is in time.
Nº3-REVOLUTION
3. "Renewal! Renewal! Eternal revolution!
Behold! the bombers of the Silence are ready (...) the locks of the new language are open. The letters of the new alphabet are run over innumerable. Everything is possible! The Gospel of Tomorrow, the Spirit of Future Laws, the Scientific Epic, The Anticipating Legend, the Vision of the Fourth Dimension of Existence, all Interferences.
Behold! the revolution!"
(Blaise Cendrars)
The author and the spectator must believe in the Revolution in the very act of creation and assistance to the work, regardless of when it is over, know that the revolution does not exist.
Nº4-FRAGANCE
4. "Director Wolsen has declared that the success of the film depends on the perfumes that are used in it."
(Ramón Gómez de la Serna)
The author must carry out his work with his own tools that transcend the format used with indifference that it is totally printed on it.
The viewer, through the cracks that exist in each work, will tear its format and breathe the filtered essences with the delight of a drunken sommelier.
Nº5-LOOK
5. "Or was a fundamentally recognizable genre all the time, regardless of what the writer assured? Neither more or less than a reading? "
(David Markson)
The work is the look. The viewer is committed to creating the work and the author must give it the necessary freedom to be created again and again.
Nº6-ARREBATO
6. "Lift up your hearts, my brothers, up! Up! And do not forget your legs either! Raise your legs too, you good dancers and even better: hold even on your head. "
(F. Nietzsche)
Serves of the work, authors, spectators, interpreters, leave you, allow ecstasy. Dance and leave the work itself behind. Destroy it with sharp scissors. Go through space, and be time. Arrebataos!
Nº7.1-VANGUARDS
7. "What most characterizes the 20th century is confusion (...) Art will be in the hands of industry, no matter how much we rebel, the last rush of individual art runs through the world. They are no longer unlearned, the arts and literature, the fact that more books are sold every day, it proves it: what they increase are the print runs and the reproductions. " (Max Aub)
And good? The manifestos have died, the vanguards have died, the truth has died in a thousand impossible fragments. Search alone, floating in a confused ether, is that it? To pass from God has died to God does not exist, and from there to where does this guy act? Dance for spectators dancers and painting for spectators painters. Phagocytosis and inbreeding. Do you miss the next production? Do not you know the laws of genetics?
So? The narrative has died after telling, as she only knows, her agony and her burial. What descriptive words they used in their requiem! Romanticism committed suicide as it belonged. What a beautiful poem of mandrake and flower read in his farewell! The characters suffocated beneath their masks. What a final monologue, what expressiveness on their faces! What a suffering!
The past has died and the future does not exist. Come in, present, be our dictator; us, your slaves. If perhaps we knew to be slaves and you a moderately decent master.
Nº7.2-APATHY
7.2 "I have thrown them the bottle rack and the potty and now they admire them for their aesthetic beauty." (Marcel Duchamp)
In this globalized world, fashion comes in the form of a song in the middle of a party whose rules we do not know. Advertising fragments the space in a time that ends at birth to give way to a new one, (which is new because we forget yesterday and we can not imagine the one that will come tomorrow.) The genres of the workforce, industry, television, occupy a place and evict their legitimate tenants.
What to do then? Without knowing how to give up our comforts, we create works where violence, revolution is possible. Feelings invade the work and there we sometimes live, life as authentic art is already old resignation. More than outburst, it's just flight.
The emptiness remains. And maybe, millions of references hidden in the past. Appointments, authors, sedimentations that build mountains. The future remains, here and now, forming. The unchanging truth remains even if it changes constantly. The own descents remain and make own the others, surrendering in sacrifice to an essence that volatilizes in cloud. There remains the collision, the ecstasy, the magic.
Confusion then, as a tool.
Nº8-MASK
8. "To which the mysterious Pontevin replies: You are wrong if you think he wanted to attack the dancers. I defend them. (...) The true essence of the dancer lies precisely in that obsession to see in his own life the material of a work of art: he does not preach the truth, he dances it! He wants to touch and dazzle the world through the beauty of his life! He is in love with his life as a sculptor may be in love with the statue he sculpts."
(Milan Kundera)
Actor: He who under the weight of a thousand false masks is possible to reach a truth.
Performer: The one who, when the last mask is removed, is likely to reach a lie.
Dancer: Being a Dionysian composed of blood and ether. It has the ability to dance on the mud as if it were polished ice.
Let's do a work, let's live.
Let's have a cocktail.
Let's put on the costume with velvet cloth and in his coat, we cry because we feel naked.
Let's undress, let our body be a recipient of blood and excrement. Let us drink water, and that in its holy urination, we purify ourselves. Let's clean the armpits with white horse bristle brushes. We feel the emptiness and we will expose it while a thousand glances dress us slowly.
And finally, we dance until we slip on ice and fall, our mouth clogged with mud and stones.
Nº9-MYSTERY
9. "The cinema is a mystery, it is a mystery for the director himself, the result, the finished film, must always be a mystery for the director, otherwise it would not be interesting."
(Andrei Tarkovski)
Take care of the fairies, follow them, climb spiral stairs that take you to the top of a tower, beyond clouds and mountains. Look out the window. Contemplate the immensity of the emptiness that surrounds you down there. What to do then? Very easy, move your legs, get going.
"My goal is to make the time visible within a shot. This will become something tangible when one feels that something significant, true, is happening beyond the events we see on the screen; when one realizes ... that what he sees in the frame is not limited to what is visually described, but rather it is an index of something beyond the frame of the screen, which points towards infinity ... Uniting and editing they disrupt the passage of time, interrupt it and, simultaneously, provide something new. The distortion of time can be a way of giving rhythmic expression. That's sculpting in time! "
(Andrei Tarkovski)
Let's aim at infinity, let's not settle for less!
Nº10-ORCHESTRA
10. The author and the viewer do not exist although sometimes they are necessary conventions.