Based on the 'popular' spanish tonguetwister* 'El perro de san roque'. The figures and partial events present in the tongue twister served as a container for the work, the script. It functioned as a collection (or set) of motives and at same time formed an excuse to develop thoughts out of its associations. I was interested in the idea of a visual tongue twister, or how these linguistic poetics could excite the associations within the visual. How one could entertain a relation of figures while stumbling over nasals and vowels being too dense to make a proper scene. During the process I got interested in the relation of speech and the mute figure of the animal. (the old joke: a horse could say language is impossible but..) and started to engage on this (blind) muteness.
But the figures weren’t merely developed into a script. The so-called muteness of the animal body I was dealing with got me interested in isolating the speech, the ‘say’ from the video. This isolation of its speech would have resulted in dogtalk.: a Say from head to tail with the question ‘which side of the dog would be talking anyway?’ as its subscript. In this reading-performance I elaborated on the interaction between the figure of the dog (as a speaker, or a wagging tongue) and that of the undying bachelor, a transfiguration of a type present in the tongue twister. The bachelor acted as a kind of approaching body, being the ill-defined movement on thoughts soon-to-be-merged.
*El perro de San Roque no tiene rabo
porque Ramón Ramírez se lo ha cortado.
El perro de Ramón Ramírez no tiene rabo
porque se lo han robado.
¿Quién le ha robado el rabo al perro
de San Roque?.
¿Ramón Ramírez ha robado el rabo
del perro de San Roque?.
"Saint Roque's dog has no tail because Ramon Ramirez stole it." (theft, tail, saint roque, sportsman) evolved to (open ended; tail; open gap; theft; knee-dog conjuction approaching figures; sports figure Ramon Ramirez became 'undying bachelor' in dogtalk as an approaching body (on the beach).