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The living room

Free Texts is a project initialy written by Olenka Macassi nurished by Jose María Denegri and later by Aire-na Tahull, Rodrigo Quijano, Kevin Fernández Pinel, Mercedes Mas , Laia Rommina Dolorier, Mercedes Mas, Carolina Tapia, Lucas Zaragueta, Camila Castañeda, Valeria Rovatti, Adriana Miyagusuku, Lorena Spelucin, Sofia Falcon Derteano, Laura Benevides , Emili Morreres and Teresa Vicente born in January 2020, following an invitation from Oscar Moya to participate in an exhibition to be held in Mollet del Vallès (Catalonia, Spain), in February of the same year.

Amid haste, video calls and an intense summer that had just started, the seed that would shape the exhibition was raised under the premise that all participants would present a "new" work, as a kind of "warm welcome" to the 2020.

In this way, in the midst of talks and work during some midday in February, my father, wrapped in nostalgia while waiting for the traffic to come down, sent me a voice note where a waltz was heard in low volume, which was getting lost with the noise of the car's engine. The audio, which lasted almost a minute, contained a huge symbolism.

Composed by Nino Rota in 1972, "The Godfather waltz" was actually the waltz that danced the famous Vito Corleone (Marlon Brando) with his daughter Connie (Talia Shire) in her wedding during the first scenes of the timeless movie "The Godfather" (Francis Ford Coppola, 1972).

While the audio was playing, I listened to my father's humming to the rhythm of the waltz while turning up the volume so as not to hear the noise of the engines; almost at the end, with a tenuous and naive voice he said: "Do you remember, Ole?". When I finished listening to it, I played it again and remembered the first time I saw "The Godfather". Probably the first movie I saw in my house's living room at the age of 12 or 13 next to my father, with whom I, barefoot and over his shoes, we rehearsed what would be my future wedding dance, he as Vito Corleone and I as Connie. Interpreting the waltz at our own rhythm, from left to right but slightly looking at the TV to keep following the characters.

"The Goodfather waltz", and our "acting exercise" led me to think about the importance that cinema has had in my life, in my work, in my upbringing, having grown up with two very cinephile parents, but especially with those "acts" from daily life. The waltz led me to reopen old, unsent letters that I had written to some nonexistent recipient, they contained short synopses of fictional stories I had written about spaces, dreams, argues, projects, and old movies that had dig into my mind in some way.

This is how, drowned between papers and nameless stories I thought about what I would have been like if I had never seen a movie. Unusual or remote, the path would have been different but it made me think about how important cinema has been to me.

The cinema of my childhood happened on the pink sofa in the living room of the first and only house where I lived with my two parents. The cinema of my childhood smelled to damp, lavender and hid some white dog hairs between the folds of the sofa that I hid, so that my mother would not see them. But for my father, the living room smelled like smog and wood, and for my mother like dog and candles.

For each one (the smell) and the approach was different.



Free texts is actually that. A living room with a pink sofa where the reader is invited to sit and read a series of copyright-free texts under a any writting format; although all of them have the name of the "author" under the title, all the texts that this platform contains, are absolutely free of any intellectual property and have the purpose of free circulation. With the aim of being as close to the public/readers as possible all the texts are on PDF, so that any potential reader could feel free to stage, copy, print, download, quote, etc any text he/she would like. 


In the same room, the reader, besides the texts, will find a toolbox from which he/she can choose between different elements that will get him/her closer to the text he/she has read and that could also be a great help to nurish and to increase the possibilities of interpretation that the reader could have on his/her mind.

Drawings, videos, photographs (and soon musical scores) are some of the different tools and gears that are provided from each writer that aim to help and be a propel for the creation of a series of "scenarios" for the interpretation.   

This is, then, Free texts, a living room, a recipe book, a viewing and reading space, a self-sustaining geometric shape that has an abosolute free circulation, unliked from any time of editorial system, that with time dreams to have as many texts and collaborators that one single page could not contain. Any interested person, writer or not could be part of Free texts, he/she just needs to write and fill his/her details in the Be part window.     

From the living room, Free texts was born as a memory from a voice note, and became a sort of acknowledgment to the cinema for so many stories told/heard/read throughout my life, and for the uses and interpretations that I have given and continue to give until now.

Free texts is the living room of the only house in which I lived with my two parents. And this platform is the opening door to that space; that is to say, a door for the possibility, for interpretation, for reading or for the possible creation or "staging" of an imaginary without author.

Olenka Macassi, 2020.

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