Abstract
This piece unfolds as a lament of performance, where fragments of exhaustion and fracture accumulate like piles of clothes and dead animals. A heavy eyelid, broken nails, and careless hands evoke the vulnerability of the body pushed to its limits, stuck between sacrifice, defeat, and deception. The siesta slows time, breath turns raspy, and the stage becomes a space of fragility rather than triumph. Yet in the night, another presence emerges: indecorous, shameless, almost Butoh in its fright, but alive, alive and restless, chattering back against despair. A performance of survival in defeat, the work situates the body as both wounded and resilient, tracing a line between lament, rupture, and persistence.
Dead animals, clothes piled up. My right eyelid feels heavy, heavy, cramped. I cannot see what I must see. The nap makes me slow, my breath raspy, resting, careless. Careless hands. Broken nails. A lament of performance, a defeat, a lie, a sacrifice, a broken leg. The night is something else. An indecorous friend. Shameless. Almost Butoh from the fright, yet alive, alive and kicking. Chattering away.
Citation
Torres Kosiba, Sofia. 'La noche, la lora y los muertos [The Night, the Parrot and the Dead]'. Dispossessions in the Americas. https://staging.dia.upenn.edu/en/art/AARG023/
