THE LANGUAGE OF THE NIGHT
CURATED BY JULIA MORANDEIRA AND MANUEL SEGADE
Escuelita at CA2M poses far-reaching questions that are declined in different formats and structured in seasons, responding to conflicts and issues that plague us today. The programme is conceived as a place for discursive digestion, for the fermentation of ideas and structural compost, a kind of laboratory where we can experiment with the present and speculate about the future. This is why Escuelita is a slippery programme, impossible to pin down or define.
Night and night-time are also territories that refuse to be tied down to a fixed definition. Their fuzzy texture is made up of all kinds of atmospheres and affects that look to experiment with other forms of relationships, of desire, of being together. This fourth season wishes to address night as a space of possibility for social choreographies and as a structure of sensation to try to grasp the fleeting and the wild. Its profoundly ambiguous, evasive and uncontrollable nature means that night-time is an ephemeral and residual register that, as José Esteban Muñoz argued, is made up of “a kind of evidence of what has happened but which is by no means the thing in itself.” For this reason, this season comprises a programme of actions that seek to explore in depth these traces, remains, residues and night-time stains, articulated in the form of an open lexicon. Each entry will respond to these residues-remains that, at once, will seek to re-excite language. Just as we need darkness to re-enchant the world against the monotony of sterile reason, language needs the night to express many other things that cannot be said otherwise: “We like to think we live in daylight, but half the world is always dark; and fantasy, like poetry, speaks the language of the night.” (Ursula K. Le Guin).