(…) Deep Night woven by light and shadow as the night dance Antonia Valero proposed Passacaglia (2002), entitled cross the street transformed into Italian by passar per calli refers to a type of Spanish dance, like the ciaccona to the point of being indistinguishable from it, which spread throughout Europe in the seventeenth century mainly in Italy. Adapted from the popular area of classical music is part of some memorable pieces like Passacaglia in C minor by Johann Sebastian Bach or Brahms Fourth Symphony. A musical form, almost solemn slow cadence, based on variations of the same tune that each repetition modified accompaniment besides changing registration or tones. At the time of its expansion marked a break from the old musical forms such as cyclic Passamezo and Romanesque. Composition dark melancholy tones fit like no other to a new type of affective music where the melody seems to stem from prolonged passionate heart beat. Passacaglia is therefore a repetition of sensuous cadence that does not appear as the result of a mental construct but is open and flows, by matching the rhythm with the movements imposed by the body itself in the musical development.
Undulating sound, repeating rhythms that are part of this Passacaglia Antonia Valero as installation over the wall, a black cord forming a perfect square of twenty laps, illuminated by a powerful light from the ground. The most scenic provision of this wildly lit piece emphasizes the strength of the composition, prolonging crecendo lines in black lace, beyond the box toward the wall that joins the whole piece. An intense dramatic play of light areas sharply against other deep darkness reigns; passionate contrasts where the black, made at the same time light and darkness, composed a dance whose progression is suddenly stopped, hiding. As indicated by the artist herself, using the musical vocabulary, play of light and shadow projection remains only interrupted literally sustained in space and time: this time I was interested in deploying the black lace over and over again. This reveals a cadence, for litany almost identical could go on endlessly, but is sustained while it stops in a given time. The pace is not exhausted, is sustained. Authentic musical installation, the work transforms the density, the weight that black gives things and objects in a sound that echoed ends up disappearing, held in abeyance, frozen. A sound night light tinged vibe and dance in front of our eyes drawing shadows literally.
One night, as Maurice Blanchot says opens to a point that seem to tend in the same way art, desire and death: like love that breaks all ties, he wants to and wants to join the abyss. ..quien senses the proximity of the other night, feels that approaches the middle of the night, of that essential night looking for. Is that another primary night watched the look of Orpheus, a link to the desire of the report can only be shown in the work surreptitiously, as veiled in Eurydice. Spanish luminous darkness of night, however, falls within the subject; absorbed and mysterious light that far from giving up what are the senses, says María Zambrano, asks the light that folds to them; that does not contradict them, but that enhances and take … light coming through, that trasverbere, to catch fire and ignite without destroying … who moves to land the focus of sunlight, central fire itself and the opaque and cold things vibrate and be themselves. That matter not light it catches fire. … than see requests that light transfuse the bodies. The glow that projects Passacaglia is not transparent irradiation of thought, a homogeneous and clear light covering equally all space, without nuances and therefore no shadows. On the contrary, this light dilates the dark on a surface that we are tempted to define as that which characterizes a veiled sense.