The main theme of the performance is the dark creative power linked to the hidden spirit of the sorrowful Spain: the"Duende". In 1930 Lorca gave a lecture in Buenos Aires on this very topic and described it as follows:“There is no map or exercise to look for the duende. We only know that it burns blood like a tropic of glass, that it wears out, that it rejects all the sweet geometry learned, that it breaks styles, that it leans on inconsolable human pain, which makes Goya, master of grays, silvers and of the pinks of the best English painting, paint with your knees and fists with horrible bitumen blacks."
Negro betún is a Live Performance conceived for theaters,
museums and cultural spaces.
Combining action painting, body performance and visual art,
the new project of el starts from a reflection as well as a monographic research of the poet and playwrightFederico García Lorca, on the works of the painterFrancisco Goya and the exponent of American graffiti artJean Michel Basquiat.
The interpretation of el it tries to project the confrontation with the dark creative power contained in each individual. In doing so, contradictions and deep lacerations come to the surface with a sincerity that becomes even more disruptive and brutal precisely because so much has been tried to obsessively conceal it. In Negro betún, the protagonist plunges into a visceral and dreamlike pictorial act where graphic-pictorial signs and body language are mixed: a wonderful combination of dark power and creativity, reasoning and madness.
"óneiros"
Live performance per la presentazione della scultrice Eva Antonini
"Le strade dell'arte", Cannero Riviera (Piemonte) – 8 aprile 2023
Fondazione Claudia Lombardi, Figino – 7 luglio 2022
"óneiros"
Live performance for the presentation of sculptor Eva Antonini "Le strade dell'arte", Cannero Riviera (Piedmont) – April 8, 2023 Claudia Lombardi Foundation, Figino – July 7, 2022
"óneiros" is a journey of transformation, a voyage that begins with the artist as a motionless sculpture. The performance explores the attempt to break the rigid shell of stone to bring about movement, activate the senses, and use the skin as a boundary between the inner self and the external world. However, once freed from the encasement, the artist faces their inexperience in moving, breathing, feeling. This metamorphosis is overwhelming and ignites a desire to return to the solidity of matter, but the journey is irreversible. In the effort to return to a state of hardness, an intimately human fragility emerges. The process transforms the body language from sculptural to human, culminating in the creation of a magnificent sculpture representing the authentic human being, enlightened by suffering and transformed into true humanity.
Arenaria
Alké
