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Rosana Antolí, Isabel de Naverán and Julia Spínola. Curator: Francisco Ramallo

Lorca’s line of poetry “Infinite paving. Map. Room. Harp. Dawn”1 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.

Rosana Antolí: It’s Horrible to Get Lost in a Theatre Unable to Find the Exit With these works Antolí experiments with the “notation” of movement, which can be found at the point where Lorca’s plays and his visual art meet (in this case The Public and the drawing Fabulous Animal Heading for a House), in the possible “hidden rules” for a choreography to be found in them, in the formal coincidences, in the symbiosis that may occur between the pictorial and the performative, or in their “translation” to other media which, like sculpture and video, transcend the body.

Isabel de Naverán: The Sea Dances Along the Beach

The encounter between the artist and Lorca that has made this section possible takes place through the medium of a talk, which is one that Lorca himself practised, specifically in In Praise of Antonia Mercé “La Argentina”. Isabel de Naverán, having previously addressed the recording of movements from one body into another, explores the practices of the Japanese dancer Kazuo Ohno, who through his movements also paid tribute to the Spanish dancer. Ohno thus became another carrier of La Argentina’s “profiles”, as compiled by Lorca in the text cited.

Julia Spínola: A River and a Spout (Are the Same Thing)

Julia Spínola’s starting point has been a reading of these poems to represent them in two formats, drawing and sculpture, while also exploring their potential for performance art. These concepts can be recorded and translated into different formats, creating a new kind of narrative that takes place in the exhibition space. From the poetic images of the Suites, the material is forced to go through various states, present in the object, which acts as a fixative or a new text.

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