IN(opeRA)VEL

IN(opeRA)VEL introduces the juxtaposition of this coincidence, which may, in fact, not even coincide. It is rather a glimpse of a parallelism — temporal, sonorous, obsessive, symptomatic —, here forced to share the same descending timer. The link between Adams and Ravel is established in sound and in the absence of words, in the bolero and in the aphasic consequence that befell them. While Anne Adams takes refuge in colors, Maurice Ravel finds paths and signs in the poems read and memorized in his youth: Charles Baudelaire contributes with the words of Correspondences and L’albatros, which themselves delve into physical immobility and carry aphasia in their beaks. The poet dies in 1867, at 46, aphasic and hemiplegic. Thus thickens the fragile connection between characters, in a pseudo-heritage format, centered on Ravel’s Bolero.

The greatest crescendo in music history now appears inverted, accompanying the characters in their surrender to silence; however, the melodic structure and the three hundred and forty bars in an implacable countdown are preserved. If, on the one hand, the Bolero provides the temporal meeting of the characters, on the other, it activates the ultimate timer: Adams and Ravel, coming from expanded universes in different eras, contort and glide together over the rhythmic matter.

But this coexistence will not necessarily be followed by the characters. Upon them, beyond the descending inevitability, also weighs the interference of two external voices that clinically witness the coincidence, biographically peppering this non-existent meeting.