STATUE PARK
As you walk towards the one in the centre of the room you see an orb made of three metallic circles tucked into each other at right angles with a golden salamander in the middle. As you examine these iron belts, you see there are letters on them. Each circle has two expressions written on it at those points they are connected with another circle. These expressions are:
tragical – comical
sharp – dream-like
ritual – casual
As you run your finger over the letters you accidentally hit one of these metal circles and a deep, thunderous bell begins to toll.18 The golden salamander in the middle wakes up and looks at you. He didn’t expect you to be here and you never expected a statue to start moving, so for a moment you both look at each other in fear. He is the first to make a move: the salamander escapes from the orb and vanishes among the tropical plants, but then reappears on top of a bust. The salamander standing there seems to start glowing and the bust opens its mouth. The little animal moves on and appears on every head and highest point of the statues, shining brighter and brighter every time. The mirrors reflect the light, so the whole room feels like an oven… and all the statues are speaking now. The cacophony is almost unbearable and the light is blinding, you’re sweating as your blood is beating in your ears.
At this point, you hear different voices speaking louder and louder:
emancipation begins when we challenge mermaids. Simply allow them to play with your eardrums open up (One or two) obstructed passages, and connect levels of reality kept apart from one another
the opposition between viewing and acting is the moment, this is exactly where she is born to be
sounds themselves . . . are particular individuals Don't put names on them Art, too, is made up of chaotic, chance meetings of signs and forms
Theater and ritual comprise a braided twin-system no longer revolve around the construction of objects to be consumed by a passive bystander, a strange, unusual spectacle, a mystery whose meaning he must seek out.
I was standing on the brink of a terrifying vortex, the unpredictable, the unprecedented, the incidental.
practising imagination is not escapism, but a practice of survival.
the ambition to
affect action
At the last two words, the salamander arrives back at the centre of the orb and burps at you; it happens to be not just a simple lizard-burp but an explosion that hits you in your stomach and throws you across the whole room, out from the balcony. Once again you are falling. All your muscles jump together and you become a tense little embryo in this freefall waiting for the moment when your body hits the ground.