The film camera, according to Levinson, is a machine to transform the time in space and viceversa. Reduced to its most simple mechanism it reveals to itself as the finding -not so obvious at that moment, to depict the reality through a sampling of any moments or temporal cuts/sections, of sequential and consecutive images which conforms fragments of reality. This piece, with the same title that de 70's film by Guy Debord and exclusively made by photographies, reveals on an indirect way the engine whose axis, in this case, is the relationship between the observer and the observed from several angles. These relationships between two subjects can adopt a few forms because they simultaneously owns the ambivalence of the observer subject and the observed object. Each subjective image of the observed haves its compensation from the other side as objectivized image from another consciousness. The current version is for a single screen; the original is to be screened onto two opposite screens in a space in a spatial montage rather a temporal edition. The key is our essential reflection in the pupil of the other makes to emerge the identity, the consciousness of oneself. But this consciousness is given through the mirror-like liaison with the other one. Therefore that bipolarity of the subjective, always connecting with the other, with the others. Therefore, as continuum and second layer of meaning, the other side of the process: the lost of the identity, the dissolve of the consciousness inside the other, in the infinite game of gazes and mirrors that it is well represented by the ancient figure of the two lovers. In its development the work is composed by linear sequences, circular sequences and symmetrical structure until a palindrome is completed. The couple wanders, as the title says so, in an endless manner, inside a vortex whose constant vanishing point is the gaze of the other, trying to reestablish their own subjectivity in an endless circle which only will finish with the increasing tone up to the exhaustion of the image when they are consumed by the fire (metaphorical), and can at last close their eyes again, to rest the gaze and to do theirselves to dissapear.
Credits
