Compañía Nacional de Danza

The work explores the original meaning of the goddesses and the feminine nature of creation. The Art of the Muses in ancient Greece, μουσική (musiké), designated both the art of sound and movement. A unity that in our modern consciousness, which separates everything, has been divided into two opposites: hearing and vision, the tangible and intangible, the Apollonian and the Dionysian. However, in the Art of the Muses, dance and music constitute a unit.
Curiously, the muses did not sponsor realities or tangible physical objects like those that usually inhabit museums, but rather ephemeral and intangible arts such as music, dance and poetry. This work returns these artistic modalities to the museum, the space of the muses, developing in this case a dialogue between dance and the magnificent sculptures in the Hall of the Muses of the Prado Museum.

In this sense, the work proposes a reflection on the dichotomy that exists between choreography and sculpture in relation to time. While dance is a flow of movement in constant transformation whose canvas is time itself, sculpture is independent of the temporal flow, since it fixes an instant, a movement in eternity, through a long and slow process of adaptations.
The work also establishes a parallel between the relationship of the sculptor with the material and that of the choreography with the dancer’s body. In this sense, paraphrasing Goethe, who stated that architecture is petrified music, we could affirm that sculpture is petrified dance.
The title of the work comes from some verses sung by the Muses of Helicon from Hesiod’s Theogony: “We know how to tell lies with the appearance of truths.” In this case the order of the phrase is inverted: “we tell truths that seem like lies”, to highlight the role of art in the creation of a reality, apparently fictitious, but sometimes more intense and revealing of the mysteries of reality that we see. surrounds
Art tricks us into believing and becoming aware.