I said there wouldn’t be a third time, but… it was inevitable. The ‘Apocalipsis’ according to Israel Galván is neither nice, nor kind, nor superficial. It affects. But not as much as the first few times, when the sin was more sinful, the war bloodier, the horseman of the apocalypse more solemn, the coffins more fearsome and death… more deathly. And even though (for a three-time spectator) he might spread out an extensive series of pieces under a common bio-climate, in every one of those passages Galván’s dimension of performance has grown, more perfect in technique, more extreme in expression, riskier in his own risk. The tension, the complexity, the grotesque, the unexpected, the inherited, the unexplored, the flamenco, the butoh, the dancer, the bailaor, the performance, rociero tabors, ham knives, anisette monkeys, splinters, dust, false breasts, masks… are seamlessly interwoven in this artist who, side by side with Pedro G. Romero, has once again made flamenco an avant-garde artform. And so it appears in the photos taken by Daniel Muñoz for Flamenco-world.com at this performance at Madrid’s Teatros del Canal within the setting of Suma Flamenca 2010.