SINÉAD SPELMAN ELBOW 22.04 / 21.05.2016
Con motivo de la inauguración de Elbow, se sirvió un coctel llamado Slippery Nipple (pezón resbaladizo). Este cóctel, nacido en Belfast en los años
90 ante la necesidad de emborracharse rápidamente, está compuesto de dos capas: Sambuca en el fondo y Baileys encima. Dos elementos aparentemente difíciles de combinar, un elemento casi flotando sobre el otro, creando una línea, una forma, una separación.
O eso debiera parecer; en realidad esta línea, como todas las líneas, es una mera construcción, una barrera esperando ser transgredida.
Los dos elementos deslizándose uno sobre otro en el pequeño espacio de un vaso de chupito, frotándose amablemente, cuidándose uno a otro. Ambos elementos son, de hecho, porosos y se mezclarán fácilmente con un suave batir. La percepción de los dos elementos separados del vaso,
a la vez que separados de la mano, a la vez que separados del entorno, es, por supuesto, también una construcción que disuelve el instante.
Tan pronto como has bebido un sorbo descubres la porosidad del ser, cuán profundamente integrados estamos en nuestro horizonte-mundo, cómo
la polaridad interior/exterior es una falsedad, cómo el signo es significante y la mano es el aire y el codo (Elbow) es el adiós.
For the opening of Elbow a cocltail called Slippery Nipple was served to mark the occasion. This drink, born of a necessity in 1990’s Belfast
to get drunk really fast, is composed of two layers: Sambuca on the bottom, and Baileys on top, two elements apparently averse to mixing,
one element almost hovering above the other, creating a line, a form, a separate.
Or so it would seem, in reality this line, like all lines is a mere construction, a barrier waiting to be transgressed. The two elements glide off each other in the small space of the shot glass, rubbing gently, caressing each other. Both elements are in fact porous and will mix readily when gently shaken. The perception of the two elements separated from the glass, and in turn from your hand and in turn from the surroundings is of course also
a construction which dissolves in an instant. No sooner have you taken a sip of the drink than you become keenly aware of the porosity of the self, how deeply integrated we are in our world-horizon, how the polarisation of interior exterior is a falsehood, how the sign is the signifier, and the hand is the air and the elbow is the goodbye.
to get drunk really fast, is composed of two layers: Sambuca on the bottom, and Baileys on top, two elements apparently averse to mixing,
one element almost hovering above the other, creating a line, a form, a separate.
Or so it would seem, in reality this line, like all lines is a mere construction, a barrier waiting to be transgressed. The two elements glide off each other in the small space of the shot glass, rubbing gently, caressing each other. Both elements are in fact porous and will mix readily when gently shaken. The perception of the two elements separated from the glass, and in turn from your hand and in turn from the surroundings is of course also
a construction which dissolves in an instant. No sooner have you taken a sip of the drink than you become keenly aware of the porosity of the self, how deeply integrated we are in our world-horizon, how the polarisation of interior exterior is a falsehood, how the sign is the signifier, and the hand is the air and the elbow is the goodbye.