TRATTO DA UN GIORNALE DI MAIORCA 16 MAGGIO 2003 "LA REALTA' E' UNA METAFORA": The irruption of the video as an artistic subject took place, when this new technology was able to lower the price and improve the costs and yields of the machinery. The technology impelled a new theory of the image and the sentence of Warhol - on the seconds of popularity that will be able to be obtained from that coming - has surpassed fully. Today there is a discussion and a struggle for privacy in a world led by the worst perversion: the impertinence of the camera. For the world of the art it was essential to react and to recover the video as an instrument for the plastic expression against the fatuity of the image only used as a document. In this sense, artists as Bill Viola or Shirin Nishrat have shown their capacity to create an own language with classic narrative elements, while a new generation, arisen when the video and the television already covered the domestic scope, approaches new possibilities that do not suppose a narrative ballast. Dionís Escorsa is an artist who composes his works with the presence of video and completely eliminates the way other artists narrate, concentrating himself on the global conception of the work, to which he adds prerecorded elements without which the work loses its identity, or at least, dissipates the effect that the video recording causes. The Espai Quatre of the Casal Solleric is an alternative space that has not enjoyed the preferred interest on the part of the institution, but, however, has become the most successful institutional exhibiting space, by its innovating proposals and the risks that it bears to carry out assemblies of this type, many of them with complex technical necessities, as it is in the case of Escorsa. Also, Casal Solleric exposes samples of an art, that cannot be called emergent but still betting on ways of expression that, in some cases, are still marginalized by the institutional galleries and centers. “The Jailor: Portrait of a poet when shutting up” exhibits all the power of the creative personality of Escorsa. The exhibition is opened with a spectacular installation that by itself justifies all the exhibition. A bed with a shaken sheet, a jar and glasses of spilled wine, serves as the atrezzo for a suggestive and cosy room that is seen with difficulty due to the reduced dimensions of the space. And thus, when the spectator, "voyeur" of a situation that escapes him, finds a comfortable and well-situated location in space, he suddenly discovers a trail of colors within the range of the red of bloody spots and of the texture of spilled wine, scattered on some objects through a luminous projection of a window, which makes its way from the head of the mattress to our feet. The sensation, that the spectator creates, modifies the real perception of the elements, that conform a simple but effective stage scene, whose meaning transports itself to the spectator beyond suggestion or evidence: reality is a concept, a metaphor that each one interprets at will. Close, in the contiguous room, the jailor waits for the visitor whom he intimidates with a surrealistic manifestation of self-destruction. With a syringe he extracts tears of his eyes to inject them to it in the forearm. The chill is not complete until discovering his addiction to taxidermia. Inside a box of cigars he pins the naked bodies of lovers, who do not stop to fuck, with needles. Their bodies are shaken in a swing that suggests as well the movement of the copulation as the desperate attempt to escape from the sharpened prison. The piece, that could represent a catalogue of perversions, is nevertheless a deaf scream, like in the “Perro Andaluz” by Bunuel, a cramp facing the pain and the melancholy of the soul. The solitude of the poet, who stares at the spectator, mirrors the image of the beast inside him, the masturbator, the silence. It is a heartrendering piece and of a refined cruelty, although the own glance provides most of it: the cruelty of the shameless spectator who is aware of the secret wall of the other, or of himself. This heartless and tender, radical and disquieting work summarizes the present state of the art, that is condemned to appeal to the most intimate and dark instincts of a spectator, who declares himself incapable to react against the avalanche of images and sounds that are spit by the common enemy: television.