Through a journey of his essays and his own literary work, this article analyzes and establishes the basic context that pushed Jorge Eduardo Eielson to understand the pre-Hispanic legacy. For this purpose, it presents the heritage’s legal aspects and his poetic intuition through the ideas of other writers and artists. This conscience acts in counterpoint to the position taken by Jorge Eduardo Eielson in the 1980s in favor of a curatorial position vis-à-vis heritage assets. In addition, the article makes the artist’s understanding of the Pre-Hispanic past evident. Through a multidisciplinary approach, the Andean iconography and architecture about which the poet wrote about in his essay is analyzed. In such a way, the article establishes the intuition that Jorge Eduardo Eielson had developed from his exile, as an inversion of Italian monumentality and which is recreated in the poetry ...

What are the communicating vessels between architecture and literature, between the concrete and habitable, and what is the gap between the linguistic and the inhabitability of the space created through words? Our purpose is to show the complementarity and the differences between both disciplines, through the novel La Sexta Lámpara (2004) by Pablo De Santis, which centers its plot around the historical development of nineteenth century and modern architecture, the utopic projects of each and how they differ in the European and American geographic space. To establish these connections and develop them, the ideas of David Spurr in his book Architecture & Modern Literature (2012) are employed.

Based on the affirmations of the poet Martín Adán in a journalistic article published in 1954, in one of his trips to Cusco, we will trace an opposition of the material and the structure that make up a change of verbal form and subject matter of the publication of the first fragment of La mano desasida in 1961, whose reference is the Machu Picchu Sanctuary. This allows us to reflect on the complexity between the limits of the Hispanic and the pre-Hispanic, and the processes of reuse of construction materials and reoccupation of space. Between knowledge and destruction that is a universal process in the evolution of time. We will thus assume the problematic of the totality and the fragment from its textual and archaeological correlates. This as a way of understanding the vastness of the file corresponding to the poet’s archive and the referent of the poem itself, Machu Picchu, its cha...

Orcid del autor: https://orcid.org/0000-0003-4133-3912

Orcid del autor: https://orcid.org/0000-0003-4133-3912

Through a journey of his essays and his own literary work, this article analyzes and establishes the basic context that pushed Jorge Eduardo Eielson to understand the pre-Hispanic legacy. For this purpose, it presents the heritage’s legal aspects and his poetic intuition through the ideas of other writers and artists. This conscience acts in counterpoint to the position taken by Jorge Eduardo Eielson in the 1980s in favor of a curatorial position vis-à-vis heritage assets. In addition, the article makes the artist’s understanding of the Pre-Hispanic past evident. Through a multidisciplinary approach, the Andean iconography and architecture about which the poet wrote about in his essay is analyzed. In such a way, the article establishes the intuition that Jorge Eduardo Eielson had developed from his exile, as an inversion of Italian monumentality and which is recreated in the poetry ...

What are the communicating vessels between architecture and literature, between the concrete and habitable, and what is the gap between the linguistic and the inhabitability of the space created through words? Our purpose is to show the complementarity and the differences between both disciplines, through the novel La Sexta Lámpara (2004) by Pablo De Santis, which centers its plot around the historical development of nineteenth century and modern architecture, the utopic projects of each and how they differ in the European and American geographic space. To establish these connections and develop them, the ideas of David Spurr in his book Architecture & Modern Literature (2012) are employed.

Based on the affirmations of the poet Martín Adán in a journalistic article published in 1954, in one of his trips to Cusco, we will trace an opposition of the material and the structure that make up a change of verbal form and subject matter of the publication of the first fragment of La mano desasida in 1961, whose reference is the Machu Picchu Sanctuary. This allows us to reflect on the complexity between the limits of the Hispanic and the pre-Hispanic, and the processes of reuse of construction materials and reoccupation of space. Between knowledge and destruction that is a universal process in the evolution of time. We will thus assume the problematic of the totality and the fragment from its textual and archaeological correlates. This as a way of understanding the vastness of the file corresponding to the poet’s archive and the referent of the poem itself, Machu Picchu, its cha...

The enunciated principle of two complementary elements from two different civilizations (harmonia oppositorum / yanantin) converges in Eielson’s poetic and plastic work to create. In his work, the city of Rome serves as a platform center that enables him to rediscover cosmological ways of seeing that connect different levels. For this article, we use Habitación en Roma, his articles from the 1950s, as well as statements made in the 1970s, 1980s, and in the 21st century. From the vestige, the creation of objects is replicated in his poetic and visual work and in his procedures with matter. Through this, it is possible to transform and be transformed after reaching moments of ultra-consciousness.

The enunciated principle of two complementary elements from two different civilizations (harmonia oppositorum / yanantin) converges in Eielson’s poetic and plastic work to create. In his work, the city of Rome serves as a platform center that enables him to rediscover cosmological ways of seeing that connect different levels. For this article, we use Habitación en Roma, his articles from the 1950s, as well as statements made in the 1970s, 1980s, and in the 21st century. From the vestige, the creation of objects is replicated in his poetic and visual work and in his procedures with matter. Through this, it is possible to transform and be transformed after reaching moments of ultra-consciousness.  

The enunciated principle of two complementary elements from two different civilizations (harmonia oppositorum / yanantin) converges in Eielson’s poetic and plastic work to create. In his work, the city of Rome serves as a platform center that enables him to rediscover cosmological ways of seeing that connect different levels. For this article, we use Habitación en Roma, his articles from the 1950s, as well as statements made in the 1970s, 1980s, and in the 21st century. From the vestige, the creation of objects is replicated in his poetic and visual work and in his procedures with matter. Through this, it is possible to transform and be transformed after reaching moments of ultra-consciousness.  

This article is a critical and creative review of the proceedings of the celebrations that, over his life and legacy, took place between 2002 and 2004 and which were published in Florence by the Polistampa publishing house with the title: Anna Maria Luisa de ‘ Medici elettrice palatina: atti delle celebrazioni, 2002-2004, Palazzo Vecchio, Firenze, under the coordination of Anita Valentini. The particularity of this work lies in the epistemological crossing that takes place to see in it the origin of public museums, in the legacy that the elector Anna Maria Luisa de’ Medici made so that the medicea collection (of arts, books, scientific instruments) did not disperse, nor was hoarded by a family or alienated

In this article, we would like to highlight the reflections of the Basque poet Juan Larrea (1895-1980) on the pre- Hispanic objects in his collection, based on his proposal that “history can only be properly understood through the poetic spirit” or “with the divinatory exercise of the imagination”. In his works on the art of ancient Peru, he presents as one of his main axes the visual syntax of a language. With this, the most important thing is not to unravel or interpret the message of that language, but to discover a procedure similar to that of poetry in it. By differentiating between the function of pre-Hispanic objects and the discovery of their symbolic value, he reveals an idea of synthesis of the verbal, visual, material and spatial. Finally, by highlighting the creativity and poetic spontaneity of the Andean builder, his use of the ...

Identifica las correspondencias entre lo textual-poéticoliterario y lo visual-plástico, a partir del concepto de harmonia oppositorum que sostiene la obra completa de Jorge Eduardo Eielson, lo menciona y usa en diversas ocasiones para referirse a las sociedades antiguas y las contemporáneas. Se centra, sobre todo, en los estudios de arte prehispánico de Eielson y en su obra plástica contemporánea y posterior a dichos escritos para definir la influencia y la división entre una etapa de fantasía y otra de estudio en la recreación de dicho arte. Será significativo el uso de conceptos como archivo e impulso Ancestral, la quema del museo y la descontextualización, presentes en su obra ensayística y entrevistas, del mismo modo que el vasto universo de signos que crea el artista, a semejanza del sistema de signos prehispánicos. Es esencial la presentación de una tipología propia ...