Carnación

Carnación, in pictorial terms, refers to the process of colouring the flesh, to the passage from the invisible to the visible. Carnación also inevitably refers to the act of becoming flesh, to the possibility of being touched. It is here that creation meets desire in order to recognise itself as resistance to the consciousness of disappearance, as a celebration of a vulnerability which, in turn, is a sign and a trace of what is alive.

Thus, in Carnación, tenderness and wildness, falling and rising, sexual drive and the will to transcendence coexist. Just like the psychic flow that finds its release in the disorder of repetitions, we perceive a different form of love in the violent aridity of desire.

With Carnación, Rocío Molina, together with Niño de Elche, Olalla Alemán, Pepe Benítez and Maureen Choi, shows the capacity of dance to unfold as a pure power. It demonstrates, once again transcending labels and reductionist readings, its capacity to understand creation as a space from which to express the apparently ineffable. She makes the limits dance where many artists and thinkers have been unable to do anything but stop.