In Jorge Luis Borges’ short story, The Book of Sand (1975), we find a mysterious book, that, like the sand, neither has a beginning, nor an end. Pages literally multiply between the pages, and once you open the book you never encounter the same content in it. “The number of pages in this book is exactly infinite. No page is the first; none the last. I don’t know why they’re numbered in this arbitrary way. Perhaps it’s to demonstrate that an infinite series includes any number.”

The book of sand has been conceived as a series of multidisciplinary performative pieces, that set body/movement as a central medium in a spontaneous composition dialogue with visual art, painting, performance and music. 

Offering a choreographic reading of the Borgesian concept of the infinite knowledge, the performing body is exposed to the politics of memory – oblivion & expansion – erasure binary patterns. the corporeality of the book of sand is thought at the same time as a place, a space, an agent and an articulator of historical discourse, while also representing a divinatory capsule of all possible narratives that can unroll from the semantic combinations interpreted by the performers.

Led by alina sokulska, the episodes (pages) of the book of sand embrace short and long duration solo, duo and group pieces formats in a cooperation with artists who work with spontaneous composition within their media (painting, drawing, music, performance).