29 декабря 2016
Ernestina "To (H)err is human; to erase, divine"
In a half-open twilight of an underworld filled with a blind and blinding faith, running water is wasted in the solitude of a train station and dilutes in the melody of a porch that opens to give way to the devotees. In the interiority of a perimeter surrounded by ancient histories, and under a turquoise dome of the coulour of time, they dance on their knees "the forgiveness of sins, the resurrection of the body and everlasting life", declining their faces covered by always stranger hands. A light hole radiates a subtle glow; the tentacles of a sordid death opens the passage to disappearance. The blade of a forgotten scissors irrupts the cut of the nuptials between reason and faith. A cracked rubber destroys the foundations of the founding mistakes, whose registration opens the door to a black sky that pronounces: "To (H) err is human; to erase, divine". The frenzy of the body unfolds and the redeeming boiling blood culminates in an oceanic eye, which is a daily battle against the monsters that inhabit the depths of the spirit. The black waters assauges the thirtst of that dead girl who's eternally looking for the glass; she becomes a nightmare and her feet reaches the end of the threshold. Tongues of fire behind the devotees announce the arrival of the unexpected, sighing in a drown of the unspeakable. Crucifixion is now a symbol of a new presence that is found only in the divine absence. In the intimacy of a room, the humidity of a tub shouts "my fault, through my fault, through my most grievous fault!", the unfaithful are purged from the circumspect purity, and theweak stigmas falls like a sheet of rice. Amen the body, each one dance their own apocalypse.
Author: Vanesa Menalli