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- W2791164284 abstract "In 1952 in Santiago de Chile several key figures in the Chilean poetic panorama of the time - such as Enrique Lihn, Nicanor Parra and Alejandro Jodorowsky - participated in the creation of a “mural journal” called Quebrantahuesos. The result was a collage of titles, subtitles and journalistic images. The design, composition, exposure and reception of these poetic objects involve the implementation of specific actions such as the selection, cutting, pasting and layout of textual and visual elements. Would the techniques used (the reappropriation and superimposition) work as mechanisms of a poetic transfiguration of the news, acting as catalysts or filters that would make visible that which, by habit and indifference, had become commonplace? Moreover, these poetic objects problematize the notion of authorship by the very nature of the creative act (“cut/paste”) and through the collective dimension of their composition. The choice to make these poetic objects visible in the public space (Calle Bandera or Calle Ahumada in Santiago de Chile) implicitly claims the presence of a group of reader(s)/viewer(s). What is the role of the receivers/players in this poetic project? I will focus on the meaning of the double spatialization that these poetic objects involve (in the space of the poster, on the walls of the city) and on their impact." @default.
- W2791164284 created "2018-03-29" @default.
- W2791164284 creator A5087825517 @default.
- W2791164284 date "2017-07-01" @default.
- W2791164284 modified "2023-09-25" @default.
- W2791164284 title "Assemblages poétiques dans l’espace public. Les Quebrantahuesos ou le journal mural de Lihn, Parra et Jodorowsky" @default.
- W2791164284 doi "https://doi.org/10.1484/j.llr.5.115048" @default.
- W2791164284 hasPublicationYear "2017" @default.
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