Alberto Cortés

I called One night at the golden bar the experience of making myself vulnerable in order to find the beauty that appears in the cheesy, affected, outdated and queer declaration of love. Writing out of the ecstasy and the romantic, the speaker and the investigation of the sung and musical voice appeared. In short, I wanted to find a song that highlights the fragility of affection from a queer gaze. I want to invoke the figure of the angel from a kind of invented heaven to ask myself which identities are in that vulnerable and monstrous place at the same time, and how we are going to protect these bodies when they are exposed in their fragility. To make myself understood, I tell myself that this is about what the fires of desire and love have done to my body and my language when I think about other men. Along the way, all the unresolved fissures that are part of the incomprehensibility of the romantic appear to me. The tensions between the theories we formulate to invent new ways of relating to male toxicity and heteronormativity, and at the same time the ability to fall sick with desire before The Man who ploughs the earth. That fissure is this performance. Although it could also be the attack that Ana Torroja sings about in La Fuerza del Destino when she says: "One night in the bar of gold I decided to attack". And it could also be what Rilke said: "Every angel is terrible". Or all the other things I see but don't understand when I sing of love.