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The Portrait of the King
The story-script of the video is organized around a symbolic space that is symbolic on many levels. The space of "Las Meninas" is not only a painterly, dense space, but also a space of power: a space where power is exercised, celebrated and commented upon.
Using such a space as a stage - in the ancient Greek sense of the term - in which angels enter and exit the scene changes the flow of the play and escalates the drama. Here, the entrances and exits are myth, history, time, power and violence.
The script is organized by a series of episodes that are almost autonomous, whose superficial connection is an organization of life in a palace around the royal room. Life in the palace, Morning Walks, Hunting, Dances, Prophecies.
But there is a subcutaneous connection. The timelessness and brutality of power, the subordination and insubordination of art to it, revolution, man's perpetual vision of renewal of political, artistic and social form. Eisenstein hunted, but also hunter, Salome as the punisher of the artist's division between critic and praiser. The horrors of the throne room run through the video like a thread connecting Bacon, Velasquez, Maimbridge and Eisenstein in a kaleidoscopic historical and imaginative space.

 

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