Sara Nadal-Melsió - Academia.edu (original) (raw)
Videos by Sara Nadal-Melsió
On the occasion of the exhibition "Debris Field/Notes for a Poem on the Third World/Soleil Nègre ... more On the occasion of the exhibition "Debris Field/Notes for a Poem on the Third World/Soleil Nègre (September 8 - October 4, 2018) at Galerie Chantal Crousel, Paris
9 views
Marina Garcés is a Barcelona-based philosopher and essayist, a professor of philosophy, and a fou... more Marina Garcés is a Barcelona-based philosopher and essayist, a professor of philosophy, and a founding member of the collective project of critical and experimental thinking Espai en Blanc (Blank Space). She is currently the director of the Universitat Oberta de Catalunya Master’s Degree in Philosophy for Contemporary Challenges. She has published several essays on contemporary politics and critical thought, including Filosofía inacabada (Galaxia Gutenberg, 2015), Fora de classe. Textos de filosofía de guerrilla (Arcadia, 2016), Nova il·lustració radical (Anagrama, 2018) and Ciutat Princesa (2018) and Escuela de aprendices (2020).
6 views
The director, actor, performer, and artist Kidlat Tahimik, which means “Silent Lightning” in Ta... more The director, actor, performer, and artist Kidlat Tahimik, which means “Silent Lightning” in Tagalog, is a key figure of the so-called ‘slow cinema’ movement, as well as an undisputed pioneer of Filipino independent film. Tahimik’s self-reflexive, and often satirical filmography and intermedia artistic practice takes the form of an improvisational back and forth, whereby artworks reference the storytelling in his films and the latter become open narratives under constant revision. Tahimik’s installations and films present us with a critical entanglement between the personal, Filipino traditions and knowledges, and the country’s violent colonial legacies. Something Tahimik himself has described as cinema’s ‘third way,’ a critical standpoint against capitalism’s investment in the individual in favor a collective and shared struggle of the colonized.
6 views
Set the Farm on Fire Filmmaker Oliver Laxe and screenwriter Santiago Fillol and Sara Nadal-Me... more Set the Farm on Fire
Filmmaker Oliver Laxe and screenwriter Santiago Fillol and Sara Nadal-Melsió
Oliver Laxe is a French-born Galician film director, screenwriter, and actor. Laxe grew up between France, Spain and Morocco. His first two films screened at the Cannes Film Festival: You All Are Captains (FIPRESCI Prize, 2010 Directors’ Fortnight) and Mimosas (Grand Prize, 2016 Critics’ week). His third feature Fire Will Come, was shot in Galicia, the land of his ancestors, and won the Jury Prize at the 2019 Cannes Film Festival. Laxe also played the leading role in Ben Rivers’ The Sky Trembles and the Earth Is Afraid and The Two Eyes Are Not Brothers (2015).
Santiago Fillol is a Barcelona-based Argentinian filmmaker and screenwriter currently teaching in the cinema department at the Universitat Pompeu Fabra. In addition to numerous articles, he is the author of Historias de la desaparición. El cine desde los fuer
4 views
Over the past 25 years Paul Ramirez-Jonas has sought to challenge the definitions of art and the ... more Over the past 25 years Paul Ramirez-Jonas has sought to challenge the definitions of art and the public and to engineer active audience participation and exchange. He has been made public in galleries, institutions and urban spaces around the world. He has been an Associate Professor at Hunter College since 2007; and is represented by Galeria Nara Roesler in Sao Paulo and New York.
[Selected solo exhibitions include Museo Jumex, Mexico City, The New Museum, NYC, Pinacoteca do Estado, Sao Paulo; The Aldrich Contemporary Museum, Connecticut; The Blanton Museum, Texas; a survey at Ikon Gallery (UK) and Cornerhouse (UK) in 2004, and a 25 year survey at the Contemporary Art Museum Houston in 2017. Selected group exhibitions at P.S.1; the Brooklyn Museum; The Whitechapel (UK); Irish Museum of Modern Art (Ireland); and Kunsthaus Zurich. He participated in the 1st Johannesburg Biennale; 1st Seoul Biennial; 6th Shanghai Biennial; 28th Sao Paulo Biennial; 53rd Venice Biennial]
4 views
Papers by Sara Nadal-Melsió
ACLA 2024 René Wellek Prize, Monograph: Honorable Mention
POLITICALLY RED, 2023
“Reading is class struggle,” writes Bertolt Brecht. Politically Red contextualizes contemporary d... more “Reading is class struggle,” writes Bertolt Brecht. Politically Red contextualizes contemporary demands for social and racial justice by exploring the shifting relations between politics and literacy. Through a series of creative readings of Karl Marx, Rosa Luxemburg, Walter Benjamin, W. E. B. Du Bois, Fredric Jameson, and others, it casts light on history as an accumulation of violence and, in doing so, suggests that it can become a crucial resource for confronting the present insurgence of inequality, racism, and fascism. Reading between the lines, as it were, and even behind them, Cadava and Nadal-Melsió engage in an inventive mode of activist writing to argue that reading and writing are never solitary tasks, but always collaborative and collective, and able to revitalize our shared political imagination. Drawing on what they call a “red common-wealth”—an archive of vast resources for doing political work and, in particular, anti-racist work—they demonstrate that sentences, as dynamic repositories of social relations, are historical and political events
Editum, Oct 19, 2009
This paper discusses the limits and limitations of the tragic paradigm implicit in Hanna Arendt’s... more This paper discusses the limits and limitations of the tragic paradigm implicit in Hanna Arendt’s political philosophy. Her ambivalent use of tragedy and its biopolitical implications will be read alongside Agnes Heller’s recent meditation on comedy and its political potential. This comparative reading will trace the mechanisms of the tragic and its exhaustion as a mouthpiece for the political through a reading of Sofocles’s strangest play, Philoctetes.
Cultural Critique 118, 2022
What does it mean to read or to write? In what way are reading and writing a means of doing polit... more What does it mean to read or to write? In what way are reading
and writing a means of doing political work? Why is it that, in Reading
Capital, Louis Althusser insists that “only since Marx have we had to
begin to suspect what, in theory at least, reading and hence writing
means” (16)? We could begin to answer these questions by considering
the trajectory of Fredric Jameson’s readings and writings for now more
than fifty years, since he remains the most well-known
and long-standing
American Marxist critic. But it is even more interesting that,
after his early essay on Walter Benjamin in 1969, after having written
extensively on Theodor Adorno and Bertolt Brecht (as well as on several
other thinkers associated with Benjamin), Jameson writes his first
book on this rather singular reader and writer now—in
a moment
marked by the rise of both old and new fascisms. He even published
it on election day, November 3, 2020. What is it that makes this particular
act of reading and writing so necessary at this particular moment?
And what does it tell us not only about Benjamin and Jameson—about
Jameson’s relation to Benjamin—but also about the political stakes of
this act?
and CUNY. Her areas of teaching and research are Peninsular cultures and philosophical approaches... more and CUNY. Her areas of teaching and research are Peninsular cultures and philosophical approaches to film and literature. Her essays have appeared in Diacritics, RHM, JSCS, and Avenç; as well as in various edited volumes. She is also the co-author of Alrededor de/Around, a book on the photography and architecture of the last fin-de-siécle. She is currently finishing a manuscript on the potential of a political re-energized understanding of realism, Transports of Realism: Aesthetics, Politics, and a Life in Common. She is also the Managing Editor of The Journal of Cultural Studies.
Response to Alberto Moreiras' Marranismo e Inscripción (Escolar y Mayo, 2016)
JSCS, 2021
This paper focuses on Catalan filmmaker Albert Serra’s threefold treatment of the figure of Louis... more This paper focuses on Catalan filmmaker Albert Serra’s threefold treatment of the figure of Louis XIV through a film, a performance and a video installation, in order to examine the role of negativity and deferral in his relationship to cinema as a medium. By analyzing Serra’s classical understanding of photogénie as an expression of destructive plasticity, I delve into the structural cinephobia that undergirds his films. I suggest that the mystery at the core of La mort de Louis XIV is not death but the cinematic image itself, not the body as matter but rather the body as a virtual image capable of traversing and surviving different temporal organizations. Through this reading, Serra’s cinema emerges as a false promise to see through and beyond the two- dimensional image that transforms desire into an optical illusion.
In Give or Take, Ramirez Jonas presents the visitor with a speculative, funny and lighthearted ex... more In Give or Take, Ramirez Jonas presents the visitor with a speculative, funny and lighthearted experiment that gives us a glimpse into the interdependence between compulsion and form, between demand and choice. The artist takes, once more, the role of the scientist or collector and transforms his studio into a laboratory that artificially isolates the drive that structures the exchange economies at the center of his public artworks. All the pieces in the show are sourced from the remainders of earlier works accumulated over time in the artist's studio. Alone in his workspace, Ramirez Jonas has now become his own audience or public, a detached observer of the drives embedded in the exchange economies he has spent a career constructing. There is something strikingly impersonal in the exercise, a taxonomical impulse that the artist balances by including traces of the personal and singular—fingerprints, handwriting, small smudges on the surface of the paper. The drive emerges here as a resistant mechanism that reconfigures the relation between the private and the public, the political oxymoron of a community made up of strangers to themselves and to others as well. In this way, Ramirez Jonas's delicate drawings show an intimate encounter with the subject-object of the leftover as a problem, as well as a source of temporal anxiety. A comparison with the poignancy of Ramirez Jonas's preoccupation with temporality as an implacable force comes to mind—consider, for example, the 1997 Longer Day or the 2003 Another Day. The artist's gesture is transposed here onto an inefficient calendar that, rather than marking time, marks Ramirez Jonas's own obsession with time. Similarly, the intersubjective nature of Ramirez Jonas's collective and public artworks gives way to an exploration of the subject's drive as an object that can now be tacked to the wall because it has been isolated and reduced, like an entomologist taxidermy display. The drive is exhibited even more fully in the exchange economy of the cash register sculptures, which double as the condition of possibility of all the drawings on the wall. At their core, these mechanical devices for the production of value and rationalization also undergird the taxonomical, the desire to measure and contain. While essential for the socialization of relations, in a way that is akin to language, the cash register, and the sculptural weight it carries in the show, foregrounds the law of equivalences in which anything or anyone can be substituted for something or someone else. Yet the drive is also an equalizer between different modes of classification, a unifying mechanism that borrows a variety of forms because it is formless in itself, a shapeshifter and also a trickster of sorts. The central role of language in the artist's work is also affected by his foregrounding of the drive as procedure or disembodied dispositif. In his 2016 performative sculpture Public Trust, for instance, the performative underpins the existence of a world that is affirmed by language. There, Ramirez Jonas uses the rhetoric of the oath to sustain and protect the stability of language as an object with power, so that it safeguards above all its own value as event and speech act.
https://www.art-agenda.com/reviews/allora-calzadilla
The voice appears this way, not so much as the medium of communication and oral transmissions, bu... more The voice appears this way, not so much as the medium of communication and oral transmissions, but as the register of an economy of drives that is bound to the rhythms of the body in a way that destabilizes the rational register on which the system of speech is built. Adriana Cavarero, For More than One Voice: Toward a Philosophy of Vocal Expression A young woman starts exhaling forcefully next to me, then hissing rhythmically, following a compositional directive I cannot yet discern. People in the gallery look around, surprised, expectant, and increasingly attentive. Other singers then chime in, emerging unannounced from the crowd of spectators. Their bodies are oriented towards a cumbersome object, a relic from a power-transformer explosion, emitting an intermittent and vertical sound that has until now remained an almost imperceptible undertone in the gallery space. The singers respond to the vibrations of the sculptural amorphous mass as it were a tuning device, an acoustic orientation to their humming. Yet their singing not only echoes the mechanical agency of the transformer but also contains the traces of speech. The singers' lips make the shape of words that remain inaudible, gestural traces of speech that function as structuring patterns to their signing. The acoustic relation between the sculptural object, the singers' voices, and their gestural intimation of speech, the event I witness, is an operatic composition and an assemblage of their differences. Blackout's original composition, David Lang mains hum (2017), uses a quotation by Benjamin Franklin " In going on with these Experiments, how many pretty systems do we build, which we soon find ourselves oblig'd to destroy! If there is no other Use discover'd of Electricity, this, however, is something considerable, that it may help to make a vain Man humble. " According to Lang, the text was chosen because, besides it direct evocation of electricity and its powers, it speaks of a certain depersonalized neutrality. By reducing the intentionality of the text to a trace, and the singers' voices to their breaths, the performance unfolds as an acoustic surge; an exploration of the encounters and of the relations established by the sonorous and its duration in its expansion through space. David Lang considers himself an opera composer. Thus, he engages the full range of the theatrical, not just the voice but the body's movements in space and their assemblages with one
On the occasion of the exhibition "Debris Field/Notes for a Poem on the Third World/Soleil Nègre ... more On the occasion of the exhibition "Debris Field/Notes for a Poem on the Third World/Soleil Nègre (September 8 - October 4, 2018) at Galerie Chantal Crousel, Paris
9 views
Marina Garcés is a Barcelona-based philosopher and essayist, a professor of philosophy, and a fou... more Marina Garcés is a Barcelona-based philosopher and essayist, a professor of philosophy, and a founding member of the collective project of critical and experimental thinking Espai en Blanc (Blank Space). She is currently the director of the Universitat Oberta de Catalunya Master’s Degree in Philosophy for Contemporary Challenges. She has published several essays on contemporary politics and critical thought, including Filosofía inacabada (Galaxia Gutenberg, 2015), Fora de classe. Textos de filosofía de guerrilla (Arcadia, 2016), Nova il·lustració radical (Anagrama, 2018) and Ciutat Princesa (2018) and Escuela de aprendices (2020).
6 views
The director, actor, performer, and artist Kidlat Tahimik, which means “Silent Lightning” in Ta... more The director, actor, performer, and artist Kidlat Tahimik, which means “Silent Lightning” in Tagalog, is a key figure of the so-called ‘slow cinema’ movement, as well as an undisputed pioneer of Filipino independent film. Tahimik’s self-reflexive, and often satirical filmography and intermedia artistic practice takes the form of an improvisational back and forth, whereby artworks reference the storytelling in his films and the latter become open narratives under constant revision. Tahimik’s installations and films present us with a critical entanglement between the personal, Filipino traditions and knowledges, and the country’s violent colonial legacies. Something Tahimik himself has described as cinema’s ‘third way,’ a critical standpoint against capitalism’s investment in the individual in favor a collective and shared struggle of the colonized.
6 views
Set the Farm on Fire Filmmaker Oliver Laxe and screenwriter Santiago Fillol and Sara Nadal-Me... more Set the Farm on Fire
Filmmaker Oliver Laxe and screenwriter Santiago Fillol and Sara Nadal-Melsió
Oliver Laxe is a French-born Galician film director, screenwriter, and actor. Laxe grew up between France, Spain and Morocco. His first two films screened at the Cannes Film Festival: You All Are Captains (FIPRESCI Prize, 2010 Directors’ Fortnight) and Mimosas (Grand Prize, 2016 Critics’ week). His third feature Fire Will Come, was shot in Galicia, the land of his ancestors, and won the Jury Prize at the 2019 Cannes Film Festival. Laxe also played the leading role in Ben Rivers’ The Sky Trembles and the Earth Is Afraid and The Two Eyes Are Not Brothers (2015).
Santiago Fillol is a Barcelona-based Argentinian filmmaker and screenwriter currently teaching in the cinema department at the Universitat Pompeu Fabra. In addition to numerous articles, he is the author of Historias de la desaparición. El cine desde los fuer
4 views
Over the past 25 years Paul Ramirez-Jonas has sought to challenge the definitions of art and the ... more Over the past 25 years Paul Ramirez-Jonas has sought to challenge the definitions of art and the public and to engineer active audience participation and exchange. He has been made public in galleries, institutions and urban spaces around the world. He has been an Associate Professor at Hunter College since 2007; and is represented by Galeria Nara Roesler in Sao Paulo and New York.
[Selected solo exhibitions include Museo Jumex, Mexico City, The New Museum, NYC, Pinacoteca do Estado, Sao Paulo; The Aldrich Contemporary Museum, Connecticut; The Blanton Museum, Texas; a survey at Ikon Gallery (UK) and Cornerhouse (UK) in 2004, and a 25 year survey at the Contemporary Art Museum Houston in 2017. Selected group exhibitions at P.S.1; the Brooklyn Museum; The Whitechapel (UK); Irish Museum of Modern Art (Ireland); and Kunsthaus Zurich. He participated in the 1st Johannesburg Biennale; 1st Seoul Biennial; 6th Shanghai Biennial; 28th Sao Paulo Biennial; 53rd Venice Biennial]
4 views
ACLA 2024 René Wellek Prize, Monograph: Honorable Mention
POLITICALLY RED, 2023
“Reading is class struggle,” writes Bertolt Brecht. Politically Red contextualizes contemporary d... more “Reading is class struggle,” writes Bertolt Brecht. Politically Red contextualizes contemporary demands for social and racial justice by exploring the shifting relations between politics and literacy. Through a series of creative readings of Karl Marx, Rosa Luxemburg, Walter Benjamin, W. E. B. Du Bois, Fredric Jameson, and others, it casts light on history as an accumulation of violence and, in doing so, suggests that it can become a crucial resource for confronting the present insurgence of inequality, racism, and fascism. Reading between the lines, as it were, and even behind them, Cadava and Nadal-Melsió engage in an inventive mode of activist writing to argue that reading and writing are never solitary tasks, but always collaborative and collective, and able to revitalize our shared political imagination. Drawing on what they call a “red common-wealth”—an archive of vast resources for doing political work and, in particular, anti-racist work—they demonstrate that sentences, as dynamic repositories of social relations, are historical and political events
Editum, Oct 19, 2009
This paper discusses the limits and limitations of the tragic paradigm implicit in Hanna Arendt’s... more This paper discusses the limits and limitations of the tragic paradigm implicit in Hanna Arendt’s political philosophy. Her ambivalent use of tragedy and its biopolitical implications will be read alongside Agnes Heller’s recent meditation on comedy and its political potential. This comparative reading will trace the mechanisms of the tragic and its exhaustion as a mouthpiece for the political through a reading of Sofocles’s strangest play, Philoctetes.
Cultural Critique 118, 2022
What does it mean to read or to write? In what way are reading and writing a means of doing polit... more What does it mean to read or to write? In what way are reading
and writing a means of doing political work? Why is it that, in Reading
Capital, Louis Althusser insists that “only since Marx have we had to
begin to suspect what, in theory at least, reading and hence writing
means” (16)? We could begin to answer these questions by considering
the trajectory of Fredric Jameson’s readings and writings for now more
than fifty years, since he remains the most well-known
and long-standing
American Marxist critic. But it is even more interesting that,
after his early essay on Walter Benjamin in 1969, after having written
extensively on Theodor Adorno and Bertolt Brecht (as well as on several
other thinkers associated with Benjamin), Jameson writes his first
book on this rather singular reader and writer now—in
a moment
marked by the rise of both old and new fascisms. He even published
it on election day, November 3, 2020. What is it that makes this particular
act of reading and writing so necessary at this particular moment?
And what does it tell us not only about Benjamin and Jameson—about
Jameson’s relation to Benjamin—but also about the political stakes of
this act?
and CUNY. Her areas of teaching and research are Peninsular cultures and philosophical approaches... more and CUNY. Her areas of teaching and research are Peninsular cultures and philosophical approaches to film and literature. Her essays have appeared in Diacritics, RHM, JSCS, and Avenç; as well as in various edited volumes. She is also the co-author of Alrededor de/Around, a book on the photography and architecture of the last fin-de-siécle. She is currently finishing a manuscript on the potential of a political re-energized understanding of realism, Transports of Realism: Aesthetics, Politics, and a Life in Common. She is also the Managing Editor of The Journal of Cultural Studies.
Response to Alberto Moreiras' Marranismo e Inscripción (Escolar y Mayo, 2016)
JSCS, 2021
This paper focuses on Catalan filmmaker Albert Serra’s threefold treatment of the figure of Louis... more This paper focuses on Catalan filmmaker Albert Serra’s threefold treatment of the figure of Louis XIV through a film, a performance and a video installation, in order to examine the role of negativity and deferral in his relationship to cinema as a medium. By analyzing Serra’s classical understanding of photogénie as an expression of destructive plasticity, I delve into the structural cinephobia that undergirds his films. I suggest that the mystery at the core of La mort de Louis XIV is not death but the cinematic image itself, not the body as matter but rather the body as a virtual image capable of traversing and surviving different temporal organizations. Through this reading, Serra’s cinema emerges as a false promise to see through and beyond the two- dimensional image that transforms desire into an optical illusion.
In Give or Take, Ramirez Jonas presents the visitor with a speculative, funny and lighthearted ex... more In Give or Take, Ramirez Jonas presents the visitor with a speculative, funny and lighthearted experiment that gives us a glimpse into the interdependence between compulsion and form, between demand and choice. The artist takes, once more, the role of the scientist or collector and transforms his studio into a laboratory that artificially isolates the drive that structures the exchange economies at the center of his public artworks. All the pieces in the show are sourced from the remainders of earlier works accumulated over time in the artist's studio. Alone in his workspace, Ramirez Jonas has now become his own audience or public, a detached observer of the drives embedded in the exchange economies he has spent a career constructing. There is something strikingly impersonal in the exercise, a taxonomical impulse that the artist balances by including traces of the personal and singular—fingerprints, handwriting, small smudges on the surface of the paper. The drive emerges here as a resistant mechanism that reconfigures the relation between the private and the public, the political oxymoron of a community made up of strangers to themselves and to others as well. In this way, Ramirez Jonas's delicate drawings show an intimate encounter with the subject-object of the leftover as a problem, as well as a source of temporal anxiety. A comparison with the poignancy of Ramirez Jonas's preoccupation with temporality as an implacable force comes to mind—consider, for example, the 1997 Longer Day or the 2003 Another Day. The artist's gesture is transposed here onto an inefficient calendar that, rather than marking time, marks Ramirez Jonas's own obsession with time. Similarly, the intersubjective nature of Ramirez Jonas's collective and public artworks gives way to an exploration of the subject's drive as an object that can now be tacked to the wall because it has been isolated and reduced, like an entomologist taxidermy display. The drive is exhibited even more fully in the exchange economy of the cash register sculptures, which double as the condition of possibility of all the drawings on the wall. At their core, these mechanical devices for the production of value and rationalization also undergird the taxonomical, the desire to measure and contain. While essential for the socialization of relations, in a way that is akin to language, the cash register, and the sculptural weight it carries in the show, foregrounds the law of equivalences in which anything or anyone can be substituted for something or someone else. Yet the drive is also an equalizer between different modes of classification, a unifying mechanism that borrows a variety of forms because it is formless in itself, a shapeshifter and also a trickster of sorts. The central role of language in the artist's work is also affected by his foregrounding of the drive as procedure or disembodied dispositif. In his 2016 performative sculpture Public Trust, for instance, the performative underpins the existence of a world that is affirmed by language. There, Ramirez Jonas uses the rhetoric of the oath to sustain and protect the stability of language as an object with power, so that it safeguards above all its own value as event and speech act.
https://www.art-agenda.com/reviews/allora-calzadilla
The voice appears this way, not so much as the medium of communication and oral transmissions, bu... more The voice appears this way, not so much as the medium of communication and oral transmissions, but as the register of an economy of drives that is bound to the rhythms of the body in a way that destabilizes the rational register on which the system of speech is built. Adriana Cavarero, For More than One Voice: Toward a Philosophy of Vocal Expression A young woman starts exhaling forcefully next to me, then hissing rhythmically, following a compositional directive I cannot yet discern. People in the gallery look around, surprised, expectant, and increasingly attentive. Other singers then chime in, emerging unannounced from the crowd of spectators. Their bodies are oriented towards a cumbersome object, a relic from a power-transformer explosion, emitting an intermittent and vertical sound that has until now remained an almost imperceptible undertone in the gallery space. The singers respond to the vibrations of the sculptural amorphous mass as it were a tuning device, an acoustic orientation to their humming. Yet their singing not only echoes the mechanical agency of the transformer but also contains the traces of speech. The singers' lips make the shape of words that remain inaudible, gestural traces of speech that function as structuring patterns to their signing. The acoustic relation between the sculptural object, the singers' voices, and their gestural intimation of speech, the event I witness, is an operatic composition and an assemblage of their differences. Blackout's original composition, David Lang mains hum (2017), uses a quotation by Benjamin Franklin " In going on with these Experiments, how many pretty systems do we build, which we soon find ourselves oblig'd to destroy! If there is no other Use discover'd of Electricity, this, however, is something considerable, that it may help to make a vain Man humble. " According to Lang, the text was chosen because, besides it direct evocation of electricity and its powers, it speaks of a certain depersonalized neutrality. By reducing the intentionality of the text to a trace, and the singers' voices to their breaths, the performance unfolds as an acoustic surge; an exploration of the encounters and of the relations established by the sonorous and its duration in its expansion through space. David Lang considers himself an opera composer. Thus, he engages the full range of the theatrical, not just the voice but the body's movements in space and their assemblages with one
Arte y Espacio. Museo Guggenheim, Bilbao