‘Let’s say that almost everything is true’ - Paolo Sorrentino
In the midst of evergreen noise, a microcosm unfolds. Vast, expansive, and public, it reveals itself, bathed in sunlight, performing and playing amongst the synchronicity of things. It is not confined solely to the closed, systemic worlds of the metaverse. This spectacle is a celebration of the world, existing within and never without it, Here, we see a collection of atmospheres, a stage where fantastic characters emerge. Myriad acts - pantomimes, machines, aliens, animals, and acrobats - spill out from the wings, each bringing their unique flavour to the circle: rotations, revolutions, spirals.
The electric tent vibrates with the energy of a thousand and one stories. Thin scaffolds impossibly balance the monumental construction, and scenes shift at the speed of light. The audience and the performers are both active and affectionate. The Big top, a demountable approximation, shelters them all: digital cogs and gears, mechanical coils and weights. It is located, without being local; it has humour yet it transcends pure amusement; it is firm without having a foundation; it is coherent without being fixed; it has a legacy, but no roots; It thrives in paradoxes.
In its unabashed fakeness, the circus constitutes new truths. Through rampant illusions, it composes the real. Its origins are shrouded in mystery, but its travels appear in folklore everywhere, whispered throughout time. Like a peep box or raree show; a moveable feast for the nomads and settlers alike.