Kinesis

KINESIS was one of the most mysterious and hermetic works that knew how to maintain an extreme purity in its styling.

The action consisted of me sitting in the middle of two large life-size photographs of myself where the only thing that differentiated them was the position of the arm: one on the right and one on the left. Then I moved my arm from one position to another in an imperceptible way; this movement lasted half an hour. It was like the movement of the sun when it is higher. It means , I was there in the middle taking thousands of photographs, I was a living figure giving a photographic presence. I intended to capture the spirit of the photographer himself.

I have often played with this ambiguous reading between reality and fiction, in L’APERITIU the spectators saw mannequins, and now, in KINESIS they saw, in a moment, a photograph through a living body.

You already know that the word KINESIS comes from Greek and means movement. The bet was completely advanced and I was able to allow myself a wonderful scenic adventure. Look how curious it is, if during one second we present 24 frames of a person in movement, as it happens in the cinematographic projections, we perceive an absolute illusion of movement. But you already know that this is not so. Between each frame there is a portion that has not been photographed but that we seem to perceive. And now comes the most interesting part: what happens in these empty moments? What is the soul of this absence?

Here the game is twofold. What will remain as a foundation? Because it turns out that there is another very important and almost still unbelievable element. Human beings not only have the capacity to reproduce emotions and make them credible, such as making us laugh or cry, amuse or bore, but what is really creepy is that, as human beings, we also have the capacity to emit energetic codes of information that can reach the receiving system and inform it of an illusion that this receiver can think is real. What do I mean? If I am seeing two images, with the same clarity and the same size, but one is a photograph and the other is the live image, how can they be differentiated, if both images are in total immobility? The information we have received in the neurons of one of the two images tells us “what you see is a photograph”. Now, what happens if the emitting center of the performer emits in your brain the energetic code “are you seeing a photograph”? You might not be able to differentiate one image from the other.

Do you remember those aboriginal tribes of the Amazon who had the ability, in times of danger, to become invisible to human perception? Communication has no limits, and this is just the beginning.

In KINESIS, it was only a matter of witnessing how the performer was able to reproduce what he was seeing in a photograph of himself. I am not, I only exist as a photo of myself. I am not, I only exist as a photo of myself. First point and enlightening foundation. Second point: What happens with the gap between two frames In the photo on the left, the arm is resting on the chair and for twenty minutes the performer’s arm will move towards what is supposed to be the next frame. Here the energetic emission is: you are seeing the emptiness between two photographed images that create the illusion of movement and I, performer, will transmit that emptiness.

Ahhh… what a wonderful limbo of existence to be able to float in this nothingness. This was KINESIS.

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PRESS

El actor Albert Vidal presenta en la galería Metrónom la acción parateatral “Kinesis”. Jacinto Antón