El Palomar presents Lucia King, an artist from London who has developed many of her recent works in India, establishing collaborations with artists and other researchers. In King’s current practice she produces drawing installations and films, where the two types of work are in dialogue with each other whist remaining in separate spaces. Her focus (for the projects in India) is on artistic movements in film and performance that challenge the framing of sexual ‘difference’, religious authoritarianism, and other social discourses in which this country has long histories of resistance.
For this occasion, Lucia King, extending from the exhibition commissioned by Paola Marugán, I don’t believe in You but I believe in Love at the Balaguer Gallery, El Palomar presents this exhibition titled FILM FABLES. The title is inspired by the French philosopher, Jacques Rancière’s book, La Fable Cinématographique, (Paris: Seuil, 2001) who writes that cinema never reproduces reality as this appears to the human eye; it changes what we identify as the “real”. Cinema gives us combinations of actions, sound, light and images that have no intrinsic authenticity; they can only be experienced through the art of cinematography.FILM FABLES by Lucia King includes two 35mm films on DVD: Sea Values (1995) and “To Part and Return” (2009). In scripting both of these films, King creates a narrative that comes from the power of the image itself. “In my films, I do not aim to be “surreal”. “What you see on screen is my film fable slowly coming into being, whilst the story (that you perceive) orders these images”.
Sea Values is an allegorical film that asks, what is the encounter of love? What happens in the apparition of love? Six characters occupy a mythical reality on an island by the sea. They are icons in a painting filled with rare symbolism. Each one is making a journey towards the realisation of a desire in someone whose image remains partially concealed. Seeking, finding and being seduced by the other takes place in a space that is completely without words, where gender definition and the physical landscape that they occupy, are ambiguous. The coming together of these figures is intuitive, and their story suggests merely a beginning. It is only in the eye of the viewer that they fleetingly exist.
To Part and Return is a film poem with one protagonist, the dancer Vinay Kumar, from South India. The story explores the relationship between his physical body and the persona he is creating when he dances. The dance (appearing from his imagination) is compared with the memory of a lover. The lover is absent, but she occupies his whole body. She animates him from inside. He becomes her as he dances. The title of the film, ‘To Part and Return’ suggests the way that we are magnetically attracted to the person we desire, but then we take distance again from this attraction. Thus, the film follows this movement from intimacy to the horizon, and back again. Vinay Kumar is the Artistic Director of the company, Adishakti, that has been touring internationally since the 1980’s. Adishakti’s performers follow an intense physical training to develop the body, using experimental methods inspired by Indian martial arts and dance.