“I have felt fear and much respect. I have tried to become her, entering in his study, imaginármela. I’ve become a brush, but I’ve also felt the need to ask permission,” he told the dancer and choreographer Rocío Molina minutes after footwork, bent and abused the oil 200 x 180 cm painted by Lita Cabellut to the poster of the 21st Biennial of Flamenco of Seville, which will be held in September of 2024.
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Rocío Molina, flamenco dancer extreme that wants to be a mother and tell the tale dancing Lita Cabellut: “Goya is the guardia civil of ethics,”
The imposing hall of the foundation of the greatest of the Royal Artillery Factory of Seville, a space with columns and vaults that they call the cathedral, has hosted this Monday, a fact of art rather unusual: a performance of 50 minutes in which Rocío Molina, one of the creators most daring and applauded the flamenco, has been “deconstructed” a work of Lita Cabellut, who is one of the Spanish artists most sought after in the international market, in what the latter calls an “exercise of freedom”.
Rocío Molina (Torre del Mar, Malaga, 35 years) so I went cautious and rondo the fabric, that she and the author had spread it before on a floor acoustic, for more than 10 minutes until, finally, he dared to put a foot over to a flamenco dancer brunette and dressed in red that seems to be moving on a black background in which the light enters only through a small window. With their heel boots zapateó tireless and without music, aided by the compass that she was done with clapping and snapping the fingers and by the looks of approval of Lita Cabellut (Sariñena, Huesca, 58 years), visibly excited. “Distressed but not by pain but by love”, stated the artist. “Every step of the way Dew was reminded of my brush strokes, he relived all the painful process of creation. So much attention and so many hours of work are the inheritance of the canvas, will always be there and can be felt in the work deconstructed,” explained the painter gypsy who lives in The Hague (Netherlands) and agreed the order of the director of the Biennial of Flamenco, Antonio Zoido, without hesitating a minute.
From left, Rocio Molina, Lita Cabellut and Aunt Juana la del Pipa after the ‘performance’ that have made this Monday in Seville. paco bridges
“I Only got one condition: I wanted the poster had two sides, tradition and renewal. On the one hand is the paint and, on the other, that same painting deconstructed, which, for the first time, has made another artist for me. The result is something wonderful, it is like putting a glass in front of the work that has cracked, has trembled and has been party”, has explained to the painter to define the state that has run out of its oil, a piece of very material with 12 layers of paint craquela easily thanks to the special primer that you apply to the fabric. The meeting took a third participant: the flamenco of jerez Aunt Juana la del Pipa, who sang a cappella homage that ended in a toná.
“I’ve spent my 45 years old painting and I am master in what I do; that’s why two years ago I wanted to go beyond where time and the office are not the most important, but the essence of the art”, explains Cabellut who last October 5, he delivered a lecture in the Museum of the Prado, and, for the first time, made the process of deconstruction to the public. “It was like to get naked before all because I, like most artists, I am very jealous of my privacy, of my creative process. But this has been different. Dew has given me the opportunity to rely on another artist to share,” said Cabellut, after the performance, which has been recorded and will form part of the promotional video of the Biennale, at which time it broke the voice, voicing the tears and fused in an embrace with the dancer.
“What I like about the painting of Lita is that it arises from the darkness, as a crack. His art is tragic and dramatic, hard. But it is also real and true and from the tragedy is transformed into a party. She has given me total freedom to peruse his work, bending it, destrozarla; but I did not wanted to be stronger than the paint, I was afraid. I’ve been feeling fragile and that I liked it,” said Rocío Molina, who, from which he received the National Prize for Dance in 2010, has accumulated a long list of awards, one of the last is the Max for the best show of dance for their assembly Cry pelao.
Lita Cabellut, a lover of flamenco in a special creative freedom of Shrimp of the Island, who, he says, draws his inspiration, believes that his origin has nothing to do with his work. “The gypsy is a race, a people, but the art does not understand geography. More than a gypsy I am a woman, mother, and even more an artist.”
The communion between the two artists, who have met in this project, is such that this Monday announced that the next edition of the Biennial of Flamenco, in 2024, will create together a contemporary opera. The machinery is already in place.
