Carreteras de noche & Vasos de agua para soñar

dos creaciones para espacios teatrales

M.A.P. Brussels

3/05 > 19:00
4-25/05 > Thursday to Sunday > 13:00-19:00
8.15.22/05 > 19:00 Next Wednesday @ M.A.P.

The two installations being presented, Carreteras de noche (Night Roads) and Vasos de agua para soñar (Glasses of water for dreaming) correspond to a space created for two dramatic works by the writer and director Antonio Fernández Lera. They do not have any pretensions of existing outside the works for which they were created. “This exhibition is particularly touching when you consider that I’m abandoning my stage objects in a place which isn’t a theatre. Here these bedside tables and mattresses of light have to convey something themselves.”.

Concept : Antonio Fernández Lera-Rodrigo García

Production : KunstenFESTIVALdesArts

Presentation : M.A.P. Brussels, KunstenFESTIVALdesArts

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Each of these two installations corresponds to a theatre production. Carreteras de noche (Night Roads) is an installation created for Plomo caliente (Hot lead) by writer and director Antonio Fernández Lera, Madrid, 1998. It contains a few bed bases and mattresses. The mattresses have had their cloth and filling removed, to reveal their springs. Between the springs are lots of little lamps of white light. This work, like the next one, is about the night dreams, nightmares and, to a certain extent, torture.

Vasos de agua para soñar (Glasses of water for dreaming) is my suggestion for the space in Antonio Fernández Lera’s new work Mátame-abrázame (Kill me-kiss me), Madrid, 2001. It has a variable number of bedside tables placed upside down along the walls and appearing to float. Each bedside table is different. Each table has a lighted lamp, a book and a glass. This comes from a childhood memory: I wouldn’t go to sleep until my mother came into my bedroom with a glass of water and put it on my bedside table.

These two installations complement and are in parallel with the theatre pieces. They are never a logical package or something emerging literally from the reading of the texts. When I read a text and know where the creators’ and performers’ work is heading (which includes movement, dance, texts, films and music here) I try to turn myself into just another person reading it, though a privileged reader who can reveal publicly what it has suggested to him.

This material is used as the work’s theatrical space. Sometimes the actors blend physically with my material and sometimes it is only a presence, something that generates a unique atmosphere for the play.

These theatrical installations do not have any pretensions of living free, existing outside the works for which they were created. This is why the exhibition in Brussels is particularly touching for me when you consider that I’m abandoning my stage objects in a place which isn’t a theatre, where there are neither actors nor dancers to justify their validity. Here these bedside tables and mattresses of light have to convey something by themselves. It’s very stimulating for me to retain this hope.

Rodrigo García, January 2002

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