The exhibition joins together several works, presented in the space as fragmentary sets of theatrical and performative abstractions, coming together as a whole to create an anti-allegory.

Following a broader research into domestication and zoopoetics, the selection brings forth a deconstruction of a dog-dancer’s routine, a two-channel video about two actors engaged in a meta-conflict with the script they are rehearsing, and a tripled mechanical reconstruction of a single-cell organism engaged in perpetual pulsation.

The name of the show is borrowed from a poem by Matias de Bocanegra, Song of Beholding and Enlightenment, found in an anthology of mexican poetry translated by Samuel Beckett. The accent is the last note of a singing bird's song, coming out of the wound inflicted by a hawk's claws.

Thanks to Pietje Tegenbosch and Martin van Vreden, tegenboschvanvreden gallery, Amsterdam, NL; Eva Kijlstra and Simon Hodges; Bregtje Hut and Troy.