There are three acts. It's a dance. Yes, it is a matter of dance!

The first of these is performed by a light oar molded in phormium fibers from the Luján dam. Suspended from an old German scale, it sways in the wind. Its oscillation is almost imperceptible, giving just a few small touches to a few liters of water contained in a metal basin on the floor. Its body, rigid and hollow, a venous and porous membrane, transmutes and becomes water with every little scrape or flirtatious lick it gives on the waves of its narrow ocean.

The second act belongs to all the magic of the spring breath. It is a gesture of play. The swing of an aerial seed-fluff-trap suspended in a singular time-space. It is the fragment of a cloud or a flake of thick dust and white air, made of possible allergies and spicy red noses that, to the rhythm and dance of the hand of a forest explorer, weaves itself into the plastic net of an eighties tennis racket.

The third and last act corresponds to a snake form that turned out to be a chain or a chain form that became a snake. It is the dress of a snake-chain made in kozo that hangs from a heavy iron hook, waiting to register the steps of the humid and musky air of the Delta del Paraná, the Tigre de fuego and the viscous channel breezes of Gran Buenos Aires. The unique nature as an animal-object of this act, somewhere between living and dead, light, heavy, robust, and fragile gracefully deceives any unsuspecting dancer by offering every possible charm to gravity.

Victoria Plata