Rita Pauls & Federico Luis Tachella
My dog, me, the universe and my sister

The first time we saw him, Lisandro was dancing standing on the back of a donkey monument. It was during a concert in the plaza of San Javier, a mountain town. In a few seconds he told us that he dreamed of living in a mobile home with cats and friends, that he was thinking about what kind of work would be good to support the lifestyle he imagined, he thought about making deliveries, we suggested a street dancer. He dazzled us and we never saw each other again.

When the workshop started, we went back to look for him. We sat at the tables in his parents' ice cream store and waited for him to show up.

The tradition of family videos says that the parents film the children. When we met Lisandro, we noticed that he had a lot to say and by giving him the camera, his perception found a place to unfold. The power relationship was reversed: the one who films now is the child. His fingers get into the lens and the family hierarchy is distorted. Lisandro uses the camera as a spear to prick people and intervene in reality. It is he who has the word and the power over the image.

He has released us from an "adult-centric" gaze and made us enter another world.

Create the illusion of being that child.

To be inside his head.

To be his body.

To follow his gaze.

The inner world. The layers of him. Sheets/room. House and powders.

Moving, seeing and feeling from a perspective very different from our own: that thing that appeared on the first day of lying on the carpet and seeing from the other's place.

To what extent do we control what seems uncontrollable?

A game that is made through collaboration. The proposal multiplies and together we try to see what is the most fun game we can play.

The child as a hurricane.