Javier Pérez’sEn Puntasis the distinguished visible openingthat examinesthe links in in between manifold behaviors.It facilities French ballet dancer Amelie Segarra,who danceswith knives trustworthytothe normal pointe boots raggedby ballerinas.Inan dull theater,the ballet dancer jauntily pirouetteson the baby grand piano,her pointe moves accentuatedbythe daggersonher feet.

As Segerra stumbles, screams,and strugglesto keep balance, Pérez spinsthe camera aroundher, evokingthe mental recallof the child’s song box. Pérez uses embellishmentto“revealthe weaknessesthat turnthe bounds in in between clearly unsuited concepts such s beautyand cruelty, infirmityand violence, enlightenmentand nature,or hold upand death.” Extractsfromthe heated openingare enclosed below;the completeshowisnotyet available.