La danza mudanza

The number of movements that are made to the beat in the dances is known as a dance mudanza. In principle, they are simple steps which, rather than being seen, are only intuited. They are intermediate steps without fixed rules, where often improvisation takes place, and which allow the dancer to freely express what he feels. Here everything becomes much more sophisticated and evening. The dance becomes an intangible good, capable of showing several lapses at the same time and of multiplying the steps, whims or correspondences, as happens with desire when it enters evening time, that moment when a double always appears. A moving dance which, in the rooms of the CAAC, is a staging of Fuentesal Arenillas ‘ latest work.
The premise of this exhibition , which brings together a large part of his recent production, is to try to define the place from which this sculpture speaks. The starting point is always the same: exploring relationships and states, working from the figure of the double and the practice of sculpture after the game it originates and the game it comes from. As a thread that weaves all these ideas, there is the sculpture from the puppet, that play of hands where wood, string and rag compose works that are alive and that in the imaginary of both artists connect with the voice of Doña Rosario Núñez behind the curtains of the barraca of La Tía Norica in Cádiz or the musicality of the choreographies of the Teatro dei Picoli in Italy, a field of study during their current stay at the Spanish Academy in Rome.
Torsos, hoods, hats, caissons and lasts accompany them like costumes in a hut. An idea of understanding sculpture that is very close to the tradition of sculpture from the south: that orality that resounds like seagulls in the wake of ships or the echoes of bells in the white villages. The repetition of the kneading in the workshops or the brushing of the wood releasing sawdust from the carpentries.
_Bea Espejo.