TRICKSTER

Looking at Francis Bacon paintings, the sensation that the body escapes emerges, just as it happens with Buster Keaton, whose body escapes while falling, escaping its own presence. The body appears elusive, unable to stabilize within a form, continuously surprised by emergencies that transform it. It melts, it drips, it is moved, it eludes the gaze; its kinetics cannot be contained within a traditional anatomy, as it is possessed by forces. Citations become tools to cross other materials through the dancer’s flesh: pixels, electric discharges, ephemeral web images, and cinema archives transformed into digital form. All of this converts into flesh, weight, muscles, acrobatics, breath, creating an animal life before the spectator’s gaze. This human body becomes, itself, a living montage. V.S.