From The Eros of Everyday Life: Essays on Ecology, Gender and Society by Susan Griffin

“Waking, my hand meets the cotton sheets on my bed, my mouth meets the water I drink as I arise, my eyes meet the morning light, shadows of clouds, the pine tree newly planted in our backyard, my ears meet the sounds of a car two blocks east. Everything I encounter permeates me, washes in and out, leaving a tracery, placing me in that beautiful paradox of being by which I am both a solitary creature and everyone, everything. 

Isn’t this what shapes our days? The paradox accounts for gravity, which is a kind of eros. The great mass of the earth curving space and time around it, the greater mass of the sun drawing the earth in an even circular motion, balanced between fusion and a solitary direction. 

There is an eros present at every meeting, and this is also sacred. One only has to listen inwardly to the histories and resonances of the word we use for religious experience. In Sanskrit the word satsang which translates into English as “meeting” means “godly gathering.” In the English language the word “common” is linked through the word “communicate” to “communion.” And earlier meanings of “common” point to levels of meaning that have been obscured in our idea of the sacred. Gary Snyder gives us the etymology for “common” as “ko, ‘together,’ with (Greek) moin, ‘held in common.’” And he also traces the word back to the Indo-European root mei, meaning “‘to move, to go, to change.’” This “… had an archaic special meaning of ‘exchange of goods and services within a society as regulated by custom or law,’” he writes, as in “the principle of gift economies: ‘the gift must always move.’…” And the gift does move.

 To exist in a state of communion is to be aware of the nature of existence. This is where ecology and social justice come together, with the knowledge that life is held in common. Whether we know it not, we exist because we exchange, because we move the gift. And the knowledge of this is as crucial to the condition of the soul as its practice is to the body.”

Presented for the first time at Sala Montcada, Fundació “la Caixa”, in the season “El yo diverso” (The diverse I), this small format, right-angled video projection relates to two other pieces: two photographs that recall Goya’s duel with clubs and a sculpture with silhouettes joined at the waist. The description of the video is as follows: two hands are digging out two holes in the ground and then covering them over, each hand using the earth dug out by the other. That enigmatic action is very beautiful and open to different interpretations. One of them is linked to one of the basic concerns of Cabello and Carceller’s career: working together, living together, thinking together; that could be symbolised by the figure of the couple, which was also the nexus of the three visions shown at Sala Montcada in Barcelona. The fiction the artists narrate revolves openly around the way we construct ourselves and the way we are constructed. The hands that appear in the projection are immersed in that task. First, they mark out the territory, then they dig out the earth, they finish the process and start all over again. But there is something curious here, which would tend to confirm what we have said. It seems that everything returns to what it was before, but the earth has changed place and, if we keep on with this continuous task, it will change places over and over again. Every action has its consequences, and all the more so if it is on our immediate environment. The earth could symbolise the most elemental raw material -what we are, our first feelings-, which we act on and on which the nearest person deposits the result of her actions. In that way, like most of Cabello and Carceller’s works, the video talks about team work and communal living. Another aspect we should point out is the character of this work in relation to other videos. So, as in the earlier Un beso (A kiss, 1995-1996) or Bollos (Dykes, 1996), this work is characterised by visual and temporal economy. They all show short, concise, and simple, actions, but open to interpretations. That is something both creators have continued in later works on the same support: Una habitación doble (A double room, 1998), Sin título (promesa) (Untitled, promise, 1998) and Sin título (viaje) (Untitled, journey, 1999).Juan Antonio Álvarez Reyes