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| ilustração: Alexandre Guarnieri |
METRÔuroboros
[Alexandre Guarnieri]
[Alexandre Guarnieri]
para Songül Boyraz e Peter Höll
haveria Tinguely criado d'algum Oroboro um robô
(ou mito), o moto perpétuo, ininterrupto híbrido?
os carris indestrutíveis por sobre cujas margens sedimentadas de
argila (feldspato e bentonite em sutil granulometria) reside,
automática, a antiga solidão desse bicho, que, se oriundo d'alguma
literatuta oculta, agora sofre um retrofit no signo, torna-se
híbrido: metrô e mito: Trem-Serpente, da Quetzalcóatl à Cobra-Canoa,
de Equidna à Unktehila, uma rara espécie de quimera, de que
quaisquer outros seres referentes seriam o único e mesmíssimo
espécime (pele vítrea e escamas de inox, há o Dragão de Vagões);
adquiriu por milênios um aprendizado curioso (ao tornar-se discípulo
de um camaleão de mercúrio), o dessa estranha blindagem capaz de
disfarçá-lo, indistinguível de um elemento completo do trem elétrico
mais moderno, e como Jonas houvera habitado as entranhas de um
mamífero marinho, eis seus estômagos, cheios de gente (vivendo lá por
dentro aventuras terríveis, entre o necessário transporte público
e um épico terreno); seus tro ncos unidos por torçais, aparentemente
metálicos, são ônibus de um comboio subterrâneo; no hábito alimentar
do ávido animal, famígero pela fome, cabem (anônimos) todos os
trabalhadores em trânsito na hora do rush urbano; seu ventre contínuo
eriça (as mandíbulas na barriga) sobre os trilhos íntimos onde
escorrega pelas vértebras, regurgitando carícias doloridas movidas à
energia limpa; seu grito (inaudível da superfície da metrópole porque
vestida em seu casaco isolante de asfalto) é algo entre um silvo de
fábrica e um estrondo de corrediça sem graxa; brinca com esferas e
alcachofras de minério, caça as próprias plumas de poliuretano; o
looping do réptil mordendo a própria cauda, ou a cabine bicéfala do
maquinista siamês, habitando, simultâneo, dois postos de comando,
colocada em rota da colisão consigo mesma (entretanto suspensa,
sempre, porque apenas em potência); monstro que persegue eternamente
(para alcançá-la jamais/ nunca chegar lá) sempre a luz adiante, no fim
do único túnel.
METRÔuroboros**
for Songül Boyraz e Peter Höll***
by any chance at all, would Jean Tinguely have built, from an Oroboro,
a robot (or myth), the perpetual motion, an uninterruptible hybrid?
the indestructible rail tracks, over which margins, sedimented with
clay (feldspar and bentonite in fine granulometry) lies automatically
the long lasting seclusion of this creature, which if arisen
from some occult literature, now undergoes a retrofit in its sign,
becomes a hybrid between the Underground and the myth: the Serpent-Train;
from Quetzalcóatl to the serpent -shaped canoe, from Equidna to Unktehila,
a rare specimen of chimera, of which any other similar beings would be
exactly the very same specimen (vitreous skin and stainless steel
scales, there exists the Wagons Dragon); over the millennia, it
acquired a curious learning (when it became a disciple of a mercury
chameleon), a strange armouring, capable of concealing its appearance,
making it indistinguishable from a complete element of the most modern
electric train; and just as Jonas inhabited the abdomen of a marine
mammal, its stomachs, full of people (living inside them terrible
adventures between the very need for public transport and an human
epic saga); its torsos, interlocked by halters, apparently metallic,
resemble buses of an underground convoy; in the feeding habit of the
greedy creature, notorious for its hunger, fit all (anonymous) workers
commuting at rush hour; its continuous abdomen bristles (the jaws in
its belly) over the intimate rails, on which it slides through
vertebras, regurgitating painful fondling powered by clean energy; its
cry (inaudible from the metropolis surface due to the asphalt coat it
wears), is something between a plant whistle and the blare of a
greaseless side slide; it plays with spheres and ore artichokes,
chases its own plumes of polyurethane; the loop of the reptile biting
its own tail or the bicephalic cabin of the Siamese driver, in
collision course with itself (nevertheless, every time rendered
ineffective, because it is only an occurrence in potential), indwelling
simultaneously two steering positions; monster that eternally pursues
a never-ending bright light, the same spot ahead (and at no time
reaches it/ never gets there) at the end of the lonely tunnel
for Songül Boyraz e Peter Höll***
by any chance at all, would Jean Tinguely have built, from an Oroboro,
a robot (or myth), the perpetual motion, an uninterruptible hybrid?
the indestructible rail tracks, over which margins, sedimented with
clay (feldspar and bentonite in fine granulometry) lies automatically
the long lasting seclusion of this creature, which if arisen
from some occult literature, now undergoes a retrofit in its sign,
becomes a hybrid between the Underground and the myth: the Serpent-Train;
from Quetzalcóatl to the serpent -shaped canoe, from Equidna to Unktehila,
a rare specimen of chimera, of which any other similar beings would be
exactly the very same specimen (vitreous skin and stainless steel
scales, there exists the Wagons Dragon); over the millennia, it
acquired a curious learning (when it became a disciple of a mercury
chameleon), a strange armouring, capable of concealing its appearance,
making it indistinguishable from a complete element of the most modern
electric train; and just as Jonas inhabited the abdomen of a marine
mammal, its stomachs, full of people (living inside them terrible
adventures between the very need for public transport and an human
epic saga); its torsos, interlocked by halters, apparently metallic,
resemble buses of an underground convoy; in the feeding habit of the
greedy creature, notorious for its hunger, fit all (anonymous) workers
commuting at rush hour; its continuous abdomen bristles (the jaws in
its belly) over the intimate rails, on which it slides through
vertebras, regurgitating painful fondling powered by clean energy; its
cry (inaudible from the metropolis surface due to the asphalt coat it
wears), is something between a plant whistle and the blare of a
greaseless side slide; it plays with spheres and ore artichokes,
chases its own plumes of polyurethane; the loop of the reptile biting
its own tail or the bicephalic cabin of the Siamese driver, in
collision course with itself (nevertheless, every time rendered
ineffective, because it is only an occurrence in potential), indwelling
simultaneously two steering positions; monster that eternally pursues
a never-ending bright light, the same spot ahead (and at no time
reaches it/ never gets there) at the end of the lonely tunnel
**[tradução de Clarisse Cardoso]
*** [criadores da instalação "Oroboro"
<http://www.songuelboyraz.com/
*** [criadores da instalação "Oroboro"
<http://www.songuelboyraz.com/
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