Lorca’s line of poetry “Infinite paving. Map. Room. Harp. Dawn (extract from “Casida of the Open-Air Dream”, a poem included in the collection The Tamarit Divan) implies the possibility of moving forwards and, at the same time, upwards. Taken as the title of this exhibition, it is intended to articulate the three sections that make up the show. All of them feature ideas associated with movement (its notation, its transposition to an object, its recording by a body, etc.). Movement is also present in the architectural discourse of the building itself, in the parts of Lorca’s works that are “choreographable” or “translatable”, or in the displacements that this show makes possible.
Infinite Paving. Map. Room. Harp. Dawn brings into play various different spaces at the Centro Federico García Lorca (the exhibition space, the concert hall, the archive which houses the poet’s manuscripts, and the area for access to the upper floors), while also extending to two performance-art talks, a conversation and the catalogue space itself.
The show represents an exercise in resignifying some of Lorca’s works (Suites, The Public, a talk and certain drawings), based on the research done by Rosana Antolí, Isabel de Naverán and Julia Spínola into the theory of dance, choreography and recording movements, as well as literary language and its potential for transfer to the objective or the performative. In each of these expressions we find a set of rules of movement, like a body dancing into another body.
100 years since the première of El maleficio de la mariposa (The Butterfly´s Evil Spell)
Emilio Peral Pega (ed.)