Funerals are dictated by a closed ceremonial and marked by a very specific cadence. They follow a series of very precise steps, but mainly, they follow an unbreakable linear pattern. It is impossible to alter the order of the events without in so doing causing the funeral to cease being one. In this interesting piece, the Mallorca artist Joan Morey uses this extremely structured ceremony to question the narrative order, offering us a series of juxtaposed sequences that create a dense, gloomy and troubled atmosphere.
As in other works by the same author (La Joie de Vivre), Morey makes use of a series of filmic structures and devices in order to generate a different visual space, within which narrativity abandons its meaning and is instead used to explore a series of atmospheres, situations and emotions, which emerge at the margins of a strict fictional order. Based on a very specific cultural imaginary, we witness the music by New Order becoming the perfect stage for Spastor’s clothes: leather and the catholic cross, which are erected as iconic elements that frame a crude, broken and sketchy history.
Very early on the spectator realises that the plot of what she is watching is the image itself, that the mysteries that are being created will never cease to be mysterious, and that the sense of the video is its own flowing. This work is therefore presented to us as an experience in which to immerse oneself, a dark labyrinth. The visual snippets that cascade in front of our eyes are strongly charged with an homoerotic imaginary that albeit suggestive of possible readings, prevents, in the exercise of visual and perceptive saturation which it enacts, all possible meanings.