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A train journey is hypnotically transformed into a kaleidoscope of alternating images of the idealised female body being repeatedly assaulted and decomposing, as the enactment of a psychotic drive.
The idea of transit is intimately linked both to travel and to change. It is also the turning point, at which we move from one place to another. To be in transit is a condition of existence itself, and in this sense, travelling is a metaphor for life, as well as for its end. The point of view that Pardo offers us in this piece, regarding this rite, is the passage from life to death, and from the latter to decomposition, always from the position of the male gaze contemplating the female body of desire. Transit as purification, as a maturation that implies its putrefaction, revealing the presences of absence. For this, Pardo establishes an intimate juxtaposition between eroticism and flesh itself, an ephemeral essence and an ephemeral matter.
Paying careful attention to the synchronic relation between sound and image, just as he did in his 1985 work Videoviolín, Pardo creates a soundtrack that stems from a machinelike throb which slowly blurs. Within a simultaneous evolution, black and white static images of naked female bodies follow each other, alternating - flickering and appearing subliminally and hypnotically - with macabre lucubrations about the feminine, its decomposition, its assault, and perforations of the rotting flesh, worms, skulls, heads with knives stuck in them, drills that make it through the cunt’s tunnel. The train, as if in an onanistic phantasy, traverses the corridor in an eternal penetration, whilst in the background the sound of La vie en rose played on sax is heard. Complex sexual deliria and erotic ironies that Pardo will refine in his following works of digital animation, such as Ninfografía of 1992.
In a premeditated transgression of his catholic education, Pardo presents with this piece a videographic allegory of the “body of sin” (carnal sin). According to St Paul’s first epistle to the Corinthians, the body temple, must be kept “in sanctity and respect”, as it contains the Holy Spirit. To sin against the body is to “desecrate the temple”, which leads to death and decomposition, the final consequence of sin. “Flee fornication. Every sin that a man does, is outside the body; but he who fornicates, sins against his own body” (Corinthians I, 6:18).