"Gargantas cosidas, tobillos atados". (2019) Acero, resina de poliéster, texto y audio en colaboración con El Niño de Elche. Vista de la exposición en La Casa Encendida. Madrid."Gargantas cosidas, tobillos atados". (2019) Acero, resina de poliéster, texto y audio en colaboración con El Niño de Elche. Vista de la exposición en La Casa Encendida. Madrid.        "Gargantas cosidas, tobillos atados". (2019) Acero, resina de poliéster, texto y audio en colaboración con El Niño de Elche. Vista de la exposición en La Casa Encendida. Madrid."Gargantas cosidas, tobillos atados". (2019) Acero, resina de poliéster, texto y audio en colaboración con El Niño de Elche. Vista de la exposición en La Casa Encendida. Madrid.   "Gargantas cosidas, tobillos atados". (2019) Acero, resina de poliéster, texto y audio en colaboración con El Niño de Elche. Vista de la exposición en La Casa Encendida. Madrid."Gargantas cosidas, tobillos atados". (2019) Acero, resina de poliéster, texto y audio en colaboración con El Niño de Elche. Vista de la exposición en La Casa Encendida. Madrid.  

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1.
Hay una voz ronca, rajá, aguardentosa propia del cante.
Una voz con un característico quejío; esa interjección aflictiva, seña de la identificación en la opresión, que parece hablarnos de un sentir profundo.
Capas de memoria se insertan en el lenguaje.
Farfulleos, una especie de tartamudeos rápidos:
- Aaa, eeeee e, e!! , aa aaa!.

(Silencios.)

Aiaaaaaaaaaaaaaaaaiii - El lenguaje del propio tono.
Algo o alguien que quiere comunicarnos desde otro lugar:
-trajilitrajili…… trajilitrajiliii
lerelerele
nainainanaina…
Elee
Eleeeeeeai.

No solo la voz, el cuerpo también habla, articula su lenguaje. Espasmos que narran.

Tacatacatacatacatatatatatatatata
tacatacatacatacatatatatatatatata Tacatacatacatacatatatatatatatata
tacatacatacatacatatatatatatatata Tacatacatacatacatatatatatatatata
tacatacatacatacatatatatatatatata
Tacatacatacatacatacatacatacatatatatatatatata tá ta taca tá ta ta taca taca tá tá

2.

La escritura, sistema de modelado, depende siempre de un lenguaje anterior oral. Pese a su halo de legitimidad, la lengua escrita, no es capaz de vehicular de manera fidedigna lo que en él lenguaje oral se expresa y modula, cargado de complejidad.
El flamenco posee un cariz de crisol, de estómago que digiere. El momento de su generación es un momento de confluencia. Si algo se reivindica aquí no es la pertenencia o signo identitario alguno, sino precisamente lo contrario: la permeabilidad, porosidad y el carácter rizomático del lenguaje oral y corporal. Su persistencia y su capacidad para afectar y ser afectado.
Parecería ineludiblemente obvio que el lenguaje es ante todo un fenómeno oral o incluso corporal, no deja de ser paradójico que ambos modos de proceder carezcan de estatus de rigor, a diferencia de la inherente verdad y legitimación que parece conllevar la palabra escrita.
Que la Historia se escriba con gritos, con susurros, con los tobillos, el estómago y el pulmón.

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Stitched Throats, Tied Ankles
Sofia Bauchwitz and Inez Piso

In keeping with the author’s earlier works, Gargantas cosidas, tobillos atados [Stitched Throats, Tied Ankles] explores the transmission and construction of memory. But unlike previous projects, the memory in question is not related to the monumental methods that are always associated with the ruling power. Rather, the work examines more precarious memories, punished or forgotten memories that don’t have any monuments.

We are referring to those artefacts of memory that are constructed with such a degree of precariousness by certain popular subjects that they not only lack “monumental” transmission but even fail to endure in writing. These memories do not survive long enough to flesh out the word in space.

Gargantas cosidas, tobillos atados examines memory from the perspective of flamenco, as a place of transition. Languages evolve naturally but also as a result of political and authoritarian decisions. Consequently, language becomes a powerful tool that both facilitates and limits the way in which we express ourselves. Mario Espliego’s project focuses on what has been silenced in that transition of language. In his quest for the intangible, he explores how flamenco sounds operate and how they can be understood as clues to certain origins.

Even if we wanted to, it seems that we would never be able to find a place-of-memory in which to remember sounds. If certain gestural elements, certain flavours, certain ways of singing are recognised as an intangible heritage, it is undoubtedly because we cannot accurately determine how old they are, how much time has slowly passed for them to come down to us today. Modest as we are with the things of the past, it was only to be expected that certain things would remain more or less as we believe them to have been. The danger lies precisely in believing too much in those fragile truths. Perhaps the fact that words are constantly being resignified and adjusted ensures their endurance in time. How many words exist that, left untouched and protected in a dictionary, have ended up falling silent forever? The translation that alters also preserves, even if it is only a fragment, a rhythmic syllable sung in a song.

{Aiaaaaaaaaaaaaaaaaiii... trajilitrajili...trajilitrajiliii; lerelerele; nainainanaina...; Elee... eleeeeeeai}

Flamenco, which knows how to translate itself as language changes, and is refreshed as it bathes in impure waters, is the paradigmatic element around which Espliego’s installation revolves: a sculptural element that leads us to think of the heart, the throat, and thin voices as a physical place where parts of those words that survived are remembered. The installation Gargantas cosidas, tobillos atados invites us to live on echoes of oblivion. Literally, we live on what appears to be the internal part of a body. It is a place in which to think about the changes provoked by the passage of time that has gradually eroded this cultural manifestation. Its very constitution reveals the layers of time.

The piece includes an audio in which Espliego isolates sounds of words, leaving only reminiscences of a meaning. We hear a voice that is filled with air and sounds emitted from the depths of human organs. Guttural sounds. Here, sound is liberated from language, rules and speech, and becomes the exception. We enter a space where words have no power. These “quejíos” [lamentations], deep cries and remote expressions are perceived as mere reverberations of a cultural past rooted in the diversity that disappeared in the inevitably artificial construction of a so-called hegemonic identity. Flamenco resembles a crucible, a digesting stomach. The moment of its genesis was a moment of confluence. If this project defends anything, it is not a sense of belonging or a sign of identity, but precisely the opposite: permeability, porosity and the rhizomatic nature of oral and body language.

There is something in that trembling resistance of sound that is repeated in different cultures. Every surviving intangible manifestation transmits a pain, a strength, a physical shock that everyone can share and experience, even those who do not necessarily share the same historical, cultural and social context. The power of these manifestations is transmitted continually through vibrations that we can only perceive if we bask in the vocal cords or the tendons that dance.

{Tacatacatacatacatacatacatatatatatatatata tá ta taca tá ta ta taca taca tá tá tra tra}

The installation also includes a reflection on dance. The movements are reminiscences of dances that influenced flamenco. For example, the Zarabanda, a dance with oriental influences that reached Spain from southern Africa and was banned in the sixteenth century because of its erotic nature. However, in invaded America, dance came to be understood as a code of resistance. When a group of people is oppressed and speech and oral wisdom are forbidden, the body becomes a tool of opposition and cultural transmission. This can be perceived in expressions like the capoeira in Brazil, the multi-cultural construction of a dance-struggle of black resistance. This part of Espliego’s work constitutes a type of climax and interrogation that suggests that sound’s memory is undoubtedly located in the body, in the stomach, the lungs, the ankles, and in all those fibres that produce the whispers, shouts and sounds that resist words, logocentric thought and the fixed state.