2007

Diana Pérez’s proposal to do “something” scenic and visual at the CGAC – conceived to run in parallel with her Renacimiento score - appeared immediately to be a thrilling challenge. Diana’s text is extremely realist, and leads us to a middle class family context with all its characteristic spleen. The presented situations conceal behind them a continent of things which are both unsaid and unsayable, of concealed reasons and inverse images. It was necessary to enter the labyrinth that was lying there, guarded by the tearful banality of Schylla and the complacent vaudeville of Carybdis. There was also the problem of articulating a video installation in a scenic moment, in which the image had to be emptied of part of its meaning in order to accept the performance of the actress-singer. The videoinstallation thus became a kind of “primal scene” in the spectacle, in which it appears now as a fragment, now as a ghost, and now as imagination and a blind spot.  The “primal scene” does not refer on this occasion to the coitus of the parents, but rather, ironically, and in conformity with the title of the work, to birth. And, abounding in irony, the scene refers not to any normal birth but to the birth of the object of consumption.
Following the same logic, from the videoinstallation they have derived also impressions on different materials that have been exposed in several galleries.

Claudio Zulian.

Cinema · TVArtScenePublishing

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