This book began — without either, or really any, of us knowing — on a warm slightly balmy occasionally breezy evening in Buenos Aires, it was a day in November. When Gabriela Golder said, over drinks (it must have been a glass of wine, probably gin really, but for the purposes of this tale, let’s go with a Merlot, okay, some Merlot), « come and see my show, it’s just around the corner ».

And so to Todo se enciende we went. And it has never left me since.

So perhaps this book, our book, might could well be seen as traces of that encounter that has written itself onto me … to be read …

Thus, un oeil d'or is both deeply-personal yet, at the same time, hopes to create a space in which readers will be able read-themselves, write-themselves, into. It will not be an explication of Todo se enciende, even less so an academic treatise on it, but rather a slow-burn in which the work unfurls itself to us in glimpses as we give ourselves the time to be consumed by and within it. In many ways, un oeil d’or is my attempt to think-with-senses, an attempt at sensual-thinking, which echoes what [I believe] Gabriela Golder is evoking with and through her work.