If we can imagine paradise, could we wonder whether we would be capable of living there eternally? And could we manage to think about the extension of a single moment of intensity?
Before starting the battery of tests for entering paradise, you have to situate yourself in the circumstances of your death. Do not regard these tests as an exam on how lifelike your imagination is, but as a play between intellect and passion.
Please ask yourself calmly; effort is what counts. There is no pre-selection if the decision is not to continue.
Are you dead?
Paraísos (Paradises) is a piece that emerged from the dialogue between the Velcroart collective and actor Jesús Barranco as a heteronym Fedón (www.ophelia.es/fedon). With the pretext of inquiring into what happens right before death, Fedón appealed to Velcroart so together they could examine one of those absolute moments each in the artistic format in which they work. The piece must have the naturalness of each interlocutor: performance and net-art.
After a year of encounters and work, they decided that they had to confront the instant after the purported transition between dead body and its permanent residence. They forged a dialogue between the format of direct action with the spectator and a web game based on the entrance tests to the idea or existence of paradise.
Paraísos is a prototype-piece for the web that has taken into account all the traditions in the concept of mankind’s permanent residence, from Socrates’ visions to the traditional revealed paradises, literary and iconographic paradises from culture, lost paradises and unbearable paradises. For La Noche en Blanco, the artists invite viewers to have a close relationship with the web as a realm that defines the notion of paradise guided by a performer between muscular materiality and virtual space.