WAL(L)ZEN

If we consider Galeta's film as a search for the centre of gravity or point of fusion between the elements of the whole/universe, then the detection of that centre in WAL(L)ZEN is more owed to the perception of its (auditive and temporal) structure, than to placing a motif in the centre of the picture. Traces can be found in the sections of Chopin's Piano Waltz (op. 64, no. 2). The pianist Fred Došek performed it for the film Forward-Backward: Piano (Naprijed-natrag: klavir) in 1977, and twelve years later it got deconstructed – backward and forward variations in the manner of playing, recording and reproducing the piece. Thus created subsections are further dissolved and recombined, touching and intersecting in inverted, mathematically arranged combinations. The sections are simultaneously directed towards each other like a character and his reflection in a mirror or, as implied by the author's graphic (re)construction of the film, like 12 apostles gathered around Christ in four three-member groups in Da Vinci's "Last Supper": one towards another, all towards the One. Spiritual geometry is only translated into structural geometry that no longer needs a finished (symbolically rounded) shape – a sphere (Sfaira), a ball (Water Pulu) or a distant point in the perspective (PiRaMidas) – in order to demonstrate Galeta's centripetal logic of the universe. The one in which the dissolved/reversed waltz always returns to its recognisable centre – Chopin. (Diana Nenadić)