"Como algo amorfo, vago, sem nenhuma estrutura ou organização. Como uma nuvem. E somente o acontecimento central daquele dia fixou-se, como um relato pormenorizado, lúcido no seu significado e claramente definido. Em contraste com o restante do dia, esse acontecimento aparece como uma árvore em meio à cerração. Impressões isoladas do dia geraram em nós impulsos interiores, evocaram associações; objetos e circunstâncias permaneceram em nossa memória, sem, no entanto, apresentarem contornos claramente definidos, mostrando-se incompletos, aparentemente fortuitos. Será possível transmitir, através de um filme, essas impressões da vida? É evidente que sim."
do livro Esculpir o tempo, de Andrei Tarkovsky.
“Num amplo espaço, os artistas instalaram um ambiente sonoro inspirado na gravura O sono da razão produz monstros (1799), de Goya, composto de gravações de marchas, canções de ninar, texto falado e composições musicais, assim como de uma trilha de efeitos incidentais. Soando de 98 altofalantes montados em cadeiras, em pedestais e nas paredes e evocando uma revoada de aves, a obra conduz o espectador através de uma narrativa de sonho que revela as qualidades físicas e escultóricas do som” - Release de Inhotim sobre a obra “O assassinato dos corvos” (2008), de Janet Cardiff e George Bures Miller.
Trechos do sonho:
"The first dream describes a horrific sci-fi scene of an auditorium which is transformed into a factory that grinds up cats and babies with blood everywhere, like in a drug-induced nightmare. This is followed by sounds and noises of men at work and then by Janet’s second dream – a scene of tremendous human subjugation and physical and mental torture (“…we pass by a bunch of people walking, all chained up. […] Then somehow we were in the army commander’s headquarters, or something. I think he was the leader of the area, and some guy comes in; he was hanging on to one of the kids who was in the line-up. And he brings him in, sort of dragging him, saying, ‘He decided he’d run for it, but I caught him.’ And you could see that one of the kid’s feet, his foot was all swollen up. His toes were all big and purple; he’s crying and looking at us saying, ‘Please help me, please help me.’ And the leader goes, ‘O.K., you know what to do with runners. You can’t run with only one leg. Take him and cut off his leg. Take him and cut off that bad foot.’ The kid starts screaming and the guy was dragging him away…
…The cawing of crows and seagulls, the sounds of wind, ocean waves, and heavy breathing follow to introduce the atmosphere of Janet’s third dream which begins in a comforting way and then turns sour. In this dream, she describes a small house on a beach which she recognizes as her own. She enters it only to find the shocking presence of a severed leg on a bed (“On the bed there’s a leg sticking out from under the covers. So I go over to the bed and slowly pull back the sheet to see who’s sleeping there. But I jump back because it’s just a leg … there’s no body …with a running shoe and a sock on it. I try to scream and I want to wake up but I can’t scream and I can’t move.”) This is followed by the second song, an operatic surreal piece about a lost leg that is sung by a soprano and a chorus (“Where is my leg, where has it gone?” - Chorus “She’s lost her leg, where has it gone?” “She needs her leg, bring back her leg.” “It was blown off by a bomb.”) The horrific contrast between the tone of this song and its words ends and is followed by guitar music and a soothing and comforting lullaby sung by Janet. Coming from the gramophone horn on the table in the center of the installation, she sings: “Crows did fly / Through the sky /I hear their cries / Strange lullaby / Close your eyes and try to sleep / They wait for me in the middle of the night/ It’s hard to believe it now / But I know it’s going to work out right / Dreams will come / And when they’re done / It won’t be long / Until the dawn …”.)
The Murder of Crows
by Carolyn Christov-Bakargiev
published in “Thyssen-Bornemisza Art Contemporary: The Collection Book”
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