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Between the eye [Russian, glass] and the voice [Russian, glas], we find ourselves caught in the glassness [a sound transparency] of things. We become echo figures of our own speech casting its nets to catch meaning. Entangled in our interpretations, we exhaust the efforts to explain. Eventually, we give in to admit we are already inside the meaning and need to learn how to move in it. The words shed the skin of thingness and we peer through their sonic translucency. We have nothing else to mean. We áre meaning, meandering through the mould-channels of words inviting us to attend to each other’s movement inside that sacred paradigm imitating the rhythm of spheres. We are moving inside one poem that keeps repeating like a melody in a street organ. We are translating the poem without [knowing the] words. We are repeating after each other repeating after the poem until the meaning starts transpiring through our motion. It all started from a poem by Joseph Brodsky: it was saying exactly what I was seeing, sensing, craving for, and any attempt to rephrase it was betraying the expression. The meanings of the words were not constituting the meaning of the poem. Homo-Logous Liaison is, for me, about love. Love for the word and an attempt to attend to the word.
Mystinteriors is a duo phenomenological performance exploring human potential to sustain responsive presence in the orbed dimension of the living space by means of a 360-camera. In our space, you are offered freedom to explore the fragmentary world of your interior longings in the consoling darkness of your secluded room. Turn off the lights, turn the video on, and start turning the phone all around you to catch dispersed promises of meaning, if only to find yourself their captive. The performance invites you into a dream space where, along with many other people across the world, you’ll delve into the redeeming solitude that turns muteness into music. Mystinteriors juxtaposes Francisco Goya’s etching “El sueño de la razón produce monstruos,” Mario Castelnuovo-Tedesco’s musical interpretation of the piece, and a sonnet written by Sor Juana Inés de la Cruz. The sonnet stands in no derivative relation to the image or music, and is featured as their fiber dimension, or a rosin layer over the dreamer’s figure etched by music into your sense of space, self, and time. The design of the piece mimics the process of etching where your mind serves as a copper plate where your imagination will impersonate its monsters and delve into fighting them like dissolvent would fight the metal, and like the finger cushions would fight the metal of the strings.
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