Tor­res Teja­mar
April 2016
In the cen­tral plaza of a mod­ernist res­i­den­tial com­plex, we see pairs engaged in con­ver­sa­tion, in pro­file, which are the first and sec­ond dances, either the lon­gi­tu­di­nal intra-table or the lat­er­al intra-table rela­tion (in ref­er­ence to the com­plete field of action which is rec­tan­gu­lar and not square). It is the third dance when we see four bod­ies hud­dled toward each oth­er in a rosette for­ma­tion, each wedged into the angle of their indi­vid­ual space; this is a crossed rela­tion of two inter­sect­ing pairs and not a four­some. The fourth dance is dis­tinct from the oth­ers in such that the dance-floor appears half-vacant; all those occu­py­ing posi­tions so that their backs face the out­er edges of the floor retreat to the periph­ery, while those whose backs face oth­er backs piv­ot to face their fronts. Aside from the radi­ant faces, the pro­files in ani­mat­ed con­ver­sa­tion, there are many backs to us. There are the backs of those at the tables, curved, tilt­ed, lean­ing toward their pair or against the table, and then there are the straight backs of the guides, stand­ing alone and still, in obser­va­tion, with­out any sup­port­ing object. The poignant iso­la­tion and immo­bil­i­ty of these fig­ures escaped our orig­i­nal cal­cu­la­tions, but has become the pre­cise point around which the rest is ordered. El pun­to exacto.