Macarena and punch
- In 1957, each artist had to present ten works at the IV International Sculpture Biennial of Sao Paulo. But Jorge Oteiza took 28: “I’ve imagined being here with ten sculptures you’ve asked me for. It's actually just one. A unique thought to project the State, as an active emptying of space, by the fusion of open formal units”.
The members of the Pelax group, against the discomforts and facilities brought by the culture of streaming, have turned the play into the same format. In spring they have published a two-piece work of about 20 minutes of songs A and B, giving a special touch to their previous work with faces D and E. However, like Oteiza, it must be considered as a unique work. More than a double disc, we've had here two steps from a single disk.
And the year is round: the concert is over and the fans are up until their hands are broken. The square was in favour of this, since in the Plaza de Egia, the entrances were exhausted, some 300 people knew that what happened was going to be special.
A special year needs a special end. The well-known beat-maker Telmo Trenor was sitting onstage, together with his four regular teammates, to play with the synths and samplers. On the other hand, artists Nagore Legarreta and Iñaki Rifaterra produced an improvised artwork through painting and photographic projections, which changed with songs. At some point you would have liked more, then less. Improvised and continuous development brings with it that, “whatever you forget, enjoy the present.”
To round the night, you can see the video of Malen Otxoa. Throughout the year, Otxoa has gathered images of the group, at the venue, in the studio, in the van, on the way to the concerts -- because it's not all lights and applause. The work behind it was very good. As we heard, it was Otxoa's first job, but we hope it's not the last one.
And mostly music. The Quinteto, who has spent hours and hours at the venue, has given it away and given it well, all with mastery, strength and details, almost without stopping, including the 21st version of Century Schizoid Man by King Crimsom. As Jaione Dagdrømmer pointed out, they all came out like a boxing camp, willing to fight and win. Nothing like that has long been seen in the underground scene.
“You didn’t hear about Makarenko until you received the punch,” they finished singing. The Pelax are creating a nice pedagogical poem for the coming years. And a bunch of punches showing that you don't just need to do things differently, but you also need to do things differently. And a little more desirable.
Photos of Amaia Oca:
All
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