Horizon

The horizon denotes the unknown. Not in the sense of something that is not yet known, but rather to what will never be known. The boundary dividing what can be known and what will never be knowable. It’s basically a concept that describes the border of human knowledge. Just as the horizon, you may chase it, but the border will always move just a tad further away. As if it were protecting something, making sure there is always an exceeding darkness out there beyond our grasp. 

Manuela Infante has been known to work around the concepts of humanity and consequently inhumanity. She has come to describe the non-human as simply that territory: that place that human knowledge can never access. That territory, that horizon, is not only out there, at the end of our sight, it’s also in here, stretching out into our body, our psyche, our biography and our history. 

“For, what can be darker than our own self? What more unknown than my own father? And the grandfather of my father who came himself to the south of the horizon. From a European vantage point, beyond the horizon was the exotic unknown to be explored. From the perspective of the Americas the unknown entered through the horizon, in the form of strange demigods: half human, half horse, bringing God, the soul, the body, nature and humanity; those strange concept-creations that were to be assimilated in order to barely survive death and exploitation.” – Manuela Infante

Horizon explores the connection of the unknown-out-there, and the unknown-in-here. Based on the ongoing conversations with her father, this time Manuela Infante takes the stage herself as a character, as her own subject of inquiry, alongside her long-term collaborator Diego Noguera and four actors (Andie Dushime, Valentijn Dhaenens, Mieke De Groote and Pitcho Womba Konga). Together they will explore the horizons of the knowable inside and outside humanity.