One of the functions of art has been to construct images, ideal models of the world. Synthetic environments long to reproduce the behaviour patterns of the real world. In this dance on video, structured in five acts, Rosa Sánchez displays the emotional paradoxes of a woman inscribed within her cyber-reality. Via a clean cut, the dancer enters an immaculate space, that oscillates between a laboratory and art’s white box, towards a, yet to be defined, virtual space.
The video begins with the dancer at rest next to a plant in a neutral space and time. The rug on the floor displays a mosaic of the same image we are watching, but from a different angle. The evolutions of the plant, together with the image’s volumetric pixels flow around the setting like cyber landscapes. Inscribed within this parallel reality, swaying, the woman lies down on a beach lounge. Her sensitive commotions correspond to a sense of apathy that does not distinguish between realities. Sighs, she adapts to the structure of rest, changing position until she lies peacefully. Her hands are activated, they tremble. To the rhythm of voices and clicking sounds, she makes automatic movements with closed eyes; epileptic convulsions in a nightmare, beating on the lounge’s soft thorns (which digitally suffer). Now she and the lounge are at the bottom of the digital sea, a dream within a dream? another level of difficulty? Through these ritualistic movements, linked to an utopic longing for happiness and its apathy, specific modes of being, doing and thinking are modulated. She moves fetally in the bottom of the sea, the waves reflect like clouds on her skin while her hair dances like a medusa. Among the choir of sighs and gasps, within the white world, the synthetic avatar of the dancer appears. A virtual figure creating the dimensions of space as she dances, imitating and learning from her original. Until she disappears leaving four replicas in a parallel, albeit unsynchronised, dance. Contradictory impulses of coexisting that derive from a common source and remain independent. The fantasy of digital life continues without its human model, redoubling indefinitely.
The body’s doubling, cloning and other mimetisms have always been resources in the struggle to defeat mortality. Art was historically consolidated under this finality. Today, the emulation of life takes place in the binary world, even though now the body in movement is cartesially doubled by the methodic inventory of the accountant, such as in Ambi><valence: a mechanical task parallel to that of art. Instead of using intuition and the particular capacity of the interpreter, reality is cartographically rationalised. This video indicates the moment at which both methods become one in the genesis of a virtual anticanon.
Directed by: Rosa Sánchez
Script: Rosa Sánchez
Music by: Alain Baumann
Choreography: Constanza Brncic
Camera: Joan Babiloni, Adolf Alcañiz y Alain Baumann
Edition: Adolf Alcaiz
3D effects: Juan Carlos Olmos
Thanks to: Institut Universitari de l’Audiovisual (UPF), Hangar y Metronomlab