Claves sobre “Muros que miran al Mar”
Este libro de poemas y la intervención urbana que se levanta sobre los hombros de la poesía, nacen en el contexto de la tarea autoimpuesta de publicar nuevos poemas durante mil días consecutivos en www.crecersindios.com
El libro y la intervención urbana que toman cuerpo a partir del poema “Muros que miran al Mar”, publicado en el blog el once de octubre de dos mil diez, reconocen, en mi concepto, las siguientes claves:
En la obra se diluye la autoría.
Se diluye la autoría por el aporte que hace el lector-público al interpretar los objetos de arte desde su realidad y porque el poema “Casa y Jardín” es entregado en su conclusión al espíritu que recorre aquellas páginas.
Se diluye por el concurso de la intertextualidad. Aparece nítido el aporte de Juan Luis Martínez en “Gurba renace en Recreo” y el de Lenin a través de su descollante ¿Qué Hacer? . Surge un diálogo fecundo entre los retratos funerarios de Fayum datados en el siglo de Cristo; la reelaboración visual de Roser Bru y su recepción lírica en “Un Griego en Recreo”.
Se diluye en el texto, porque se recoge el hablar de los vecinos, sus recuerdos, sus conversaciones, sus historias.
Ello, porque el sentido y la forma de las palabras pertenecen a la comunidad. En el Exordio del libro se deja testimonio de esta realidad enunciada por Simónides de Ceos bajo la fórmula “ La ciudad hace al hombre” – Polis andra didaskei-
Se diluye en cuanto intervención urbana, pues la autoría de las obras reproducidas pertenece a Maestras y Maestros nacionales que exponen en la Galería Casa Verde de Recreo; la curaturía corresponde a Myriam Parra Vásquez, en diálogo con las personas que cedieron sus muros; la ejecución de los trabajos es responsabilidad de Claudio Francia Willms; y, el impulso formal de la obra pertenece a los vecinos de Recreo, organizados en la Agrupación de Juntas Vecinales que preside doña Alicia Salinas García.
El gesto que configura nuestros Muros, excede los límites del papel, ocupando explícitamente el barrio y las redes sociales.
El barrio, porque en sus poemas está la idea, la dialéctica, la promoción, la descripción y el testimonio de la creación del Museo al Aire Libre de Recreo y Esperanza, identificado con el mismo nombre del libro y del poema motivador.
Las redes sociales, porque antes de vestirse con tinta y papel, los poemas volaban eléctricos en las redes digitales .
Los dominios de la mirada son sacralizados por el ser humano. El arte nos motiva a asomarnos y conectarnos con lo profundo del ser humano.
El ser humano, su planeta, las estrellas y la verdad son sagradas.
Una virtud del arte consiste en motivarnos a observar con mirada curiosa y emotiva, nuestro espíritu, la naturaleza y la cultura.
El libro y la intervención urbana, nos motivan a redescubrir la historia del Barrio, su conexión con el mar, las migraciones, la vida de sus habitantes.
En este tiempo, de fácil acceso a la información, lo que necesitamos con urgencia es motivarnos a dejar la superficie de nuestro espíritu y explorar nuestros laberintos y océanos interiores.
Luego de estas consideraciones acerca de lo sagrado, podemos decir que lejos de sacar el arte de sus altares, lo que hacemos es poner de relieve el carácter sagrado del vecindario, mediante poderosas invitaciones configuradas por poemas e imágenes que invaden nuestro hacer cotidiano en el barrio.
Al fin y al cabo, basta una “flauta mágica” para elevarnos al plano de Ishtar, donde nos conectamos con la imaginación, los sueños y los ríos de nuestro espíritu.
Los muros y su simbolismo.
Nuestro trabajo se aplica en primer término a enfrentar el poder simbólico de los muros como barreras al espíritu humano.
Vencemos los muros a través del arte, construyendo en ellos ventanas y puertas hacia nuestra propia alma, hacia la humanidad entera.
Esta reelaboración simbólica del muro está presente ya en el poema motivador “Muros que miran al Mar”.
Más tarde, nuestra poesía se ocupa de mostrarnos lo que hay tras los muros: los objetos de nuestros jardines y hogares; lo que hay más allá de la frontera de la vigilia; lo que escondemos tras las paredes de nuestra alma; el lugar en que se rompe el límite entre la vida y la muerte.
Esa tarea la cumplen sobre todo los poemas “Casa y Jardín”, “Escalera interior”, “Tras los muros” y “Avenida Libertad Nro. 6”La construcción de listas revela las fronteras de nuestra mente.
En la maternidad se nos presenta la lista de los recién nacidos. La escolaridad presenta una constante reiteración de listas, nóminas de puntajes, registro de aceptados y listado de espera.
Hay lista de invitados y de excluidos. Registro de Amores y de Bienes Raíces. Inventario de bienes heredados. Existencias en Bodega. Catálogos de Bibliotecas. Colecciones de Museos. Ordenadas búsquedas en Google.
“Avenida Libertad Nro. 6” junto a “Casa y Jardín” nos exponen esa problemática.
El primero, nacido de un sueño, habla al incluir y al excluir, mostrando el entorno y las conexiones del autor.
Constituye a su vez, un homenaje a los detenidos desaparecidos y un abrazo espiritual a sus familiares y seres queridos, que los encuentran en la realidad de este sueño.
El segundo, definiendo un claustro cerrado, ambiciona ilusamente ser completa y definitiva, rindiéndose tras largo trecho ante la evidencia de lo inagotable.
El libro contiene poemas épicos y programáticos.
El libro contiene poemas épicos y programáticos.
Se trata de poemas épicos en cuanto relatan la historia del barrio y de la intervención urbana desplegada.
Casi contradictoriamente, podemos decir, a su vez, que se trata de poemas programáticos, en cuanto configuran el plan de la intervención urbana, la arquitectura y diseño de una casa e, incluso, la reseña de un templo.
Keys on "Walls watching the Sea"
This book of poems and the urban intervention stands on the shoulders of poetry, born in the context of self-imposed task of publishing new poems for a thousand consecutive days in www.crecersindios.com
The book and the urban intervention take shape from the poem "Walls overlooking the Sea", published on the blog on October 11, two thousand ten, recognize, in my opinion, the following keys:
Diluted in the work of authorship.
Authorship is diluted by the contribution made by the public reader in interpreting objects of art from its reality and because the poem "Home & Garden" is delivered in its conclusion to the spirit that runs through those pages.
Diluted by the competition of intertextuality. It appears clear the contribution of Juan Luis Martinez in "Gurba reborn in Recreo" and Lenin through his outstanding What to do? . There is a fruitful dialogue between Fayum funerary portraits dating from the century of Christ, the visual reworking and Roser Bru receipt lyric in "A Greek in Recreo".
It is diluted in the text because it includes the talk of the neighbors, their memories, their conversations, their stories.
Diluted, because the meaning and form of words belonging to the community. In the Exordium of the book is testimony to this reality leaves enunciated by Simonides of Ceos under the formula "The city makes a man" - Polis andra didaskei-
Dilute as urban intervention, since the authorship of the works reproduced belongs to Master Teacher National Gallery exhibiting in the Green House Gallery; the curaturía corresponds to Myriam Parra Vasquez, in dialogue with the people who gave up their walls, the execution of work is the responsibility of France Claudio Willms, and the formal impulsion of the work belongs to the residents of Recreation, organized the Association of Neighborhood presiding Alicia García Salinas.
The gesture that sets our walls, exceeds the limits of paper, taking explicitly the neighborhood and social networks.
The neighborhood, for in his poems is the idea, the dialectic, promotion, description and witness the creation of the Open Air Museum of Viña del Mar, identified with the same name poem book and motivator.
Social networks, because before dressing with ink and paper, electric flying poems in digital networks and Facebook.
The domains of the gaze are sacralized by human beings. Art motivates us to lean out and connect with the depths of the human being.
Man, your planet, the stars and the truth is sacred.
A virtue of art is to motivate us to look with curious eyes and emotion, spirit, nature and culture.
The book and the urban intervention, motivate us to rediscover the history of the neighborhood, its connection to the sea, migration, life of its inhabitants.
At this time, easy access to information, which is urgently needed to motivate us to leave the surface of our mind and explore our inner labyrinths and oceans.
After these considerations about the sacred, we can say that far from drawing the art of their altars, what we do is to emphasize the sacredness of our neighborhood through invitations shaped by powerful poems and pictures that invade our daily tasks in theneighborhood.
At the end of the day, just a "Magic Flute" to rise to the level of Ishtar, where we connect with imagination, dreams and rivers of our spirit.
The walls and their symbolism.
Our work applies primarily to deal with the symbolic power of the walls as barriers to the human spirit.
We overcome the walls through art, building on their windows and doors to our own soul, to humanity.
This symbolic reworking of the wall is already present in the motivational poem "Walls overlooking the Sea."Later, our poetry is concerned with showing us what lies behind the walls: the objects of our gardens and homes, what lies beyond the border of wakefulness, which hide behind the walls of our soul, the place where breaks the boundary between life and death.That task is especially true poems "House and Garden", "staircase" "Behind the walls" and "Liberty Avenue No. 6"
The construction of lists reveals the borders of our mind.
In maternity we have the list of newborns. The school has a constant reiteration of lists, lists of scores, accepted and registration waiting list.
There are guest list and excluded. Amores Registration and Real Estate. Inventory of heirlooms. Stocks in Bodega. Library catalogs.Collections of Museums. Sorted Google search.
"Liberty Avenue No. 6" next to "Home & Garden" expose us this problem.
The first, born of a dream, speaks to include and exclude, showing the environment and the connections of the author.
Turn is a homage to the disappeared and a spiritual embrace your family and loved ones that are embracing the reality of this dream.
The second, defining a closed cloister, ambition ilusamente be complete and final, surrendering after a long stretch on the evidence of the inexhaustible.The book contains poems and programmatic epic.
This is epic poems tell the story about the neighborhood and urban intervention deployed.
Almost paradoxically, we can say, in turn, it is programmatic poems,in shaping the urban intervention plan, architecture and design of a house and even a review of a temple.
This book of poems and the urban intervention stands on the shoulders of poetry, born in the context of self-imposed task of publishing new poems for a thousand consecutive days in www.crecersindios.com
The book and the urban intervention take shape from the poem "Walls overlooking the Sea", published on the blog on October 11, two thousand ten, recognize, in my opinion, the following keys:
Diluted in the work of authorship.
Authorship is diluted by the contribution made by the public reader in interpreting objects of art from its reality and because the poem "Home & Garden" is delivered in its conclusion to the spirit that runs through those pages.
Diluted by the competition of intertextuality. It appears clear the contribution of Juan Luis Martinez in "Gurba reborn in Recreo" and Lenin through his outstanding What to do? . There is a fruitful dialogue between Fayum funerary portraits dating from the century of Christ, the visual reworking and Roser Bru receipt lyric in "A Greek in Recreo".
It is diluted in the text because it includes the talk of the neighbors, their memories, their conversations, their stories.
Diluted, because the meaning and form of words belonging to the community. In the Exordium of the book is testimony to this reality leaves enunciated by Simonides of Ceos under the formula "The city makes a man" - Polis andra didaskei-
Dilute as urban intervention, since the authorship of the works reproduced belongs to Master Teacher National Gallery exhibiting in the Green House Gallery; the curaturía corresponds to Myriam Parra Vasquez, in dialogue with the people who gave up their walls, the execution of work is the responsibility of France Claudio Willms, and the formal impulsion of the work belongs to the residents of Recreation, organized the Association of Neighborhood presiding Alicia García Salinas.
The gesture that sets our walls, exceeds the limits of paper, taking explicitly the neighborhood and social networks.
The neighborhood, for in his poems is the idea, the dialectic, promotion, description and witness the creation of the Open Air Museum of Viña del Mar, identified with the same name poem book and motivator.
Social networks, because before dressing with ink and paper, electric flying poems in digital networks and Facebook.
The domains of the gaze are sacralized by human beings. Art motivates us to lean out and connect with the depths of the human being.
Man, your planet, the stars and the truth is sacred.
A virtue of art is to motivate us to look with curious eyes and emotion, spirit, nature and culture.
The book and the urban intervention, motivate us to rediscover the history of the neighborhood, its connection to the sea, migration, life of its inhabitants.
At this time, easy access to information, which is urgently needed to motivate us to leave the surface of our mind and explore our inner labyrinths and oceans.
After these considerations about the sacred, we can say that far from drawing the art of their altars, what we do is to emphasize the sacredness of our neighborhood through invitations shaped by powerful poems and pictures that invade our daily tasks in theneighborhood.
At the end of the day, just a "Magic Flute" to rise to the level of Ishtar, where we connect with imagination, dreams and rivers of our spirit.
The walls and their symbolism.
Our work applies primarily to deal with the symbolic power of the walls as barriers to the human spirit.
We overcome the walls through art, building on their windows and doors to our own soul, to humanity.
This symbolic reworking of the wall is already present in the motivational poem "Walls overlooking the Sea."Later, our poetry is concerned with showing us what lies behind the walls: the objects of our gardens and homes, what lies beyond the border of wakefulness, which hide behind the walls of our soul, the place where breaks the boundary between life and death.That task is especially true poems "House and Garden", "staircase" "Behind the walls" and "Liberty Avenue No. 6"
The construction of lists reveals the borders of our mind.
In maternity we have the list of newborns. The school has a constant reiteration of lists, lists of scores, accepted and registration waiting list.
There are guest list and excluded. Amores Registration and Real Estate. Inventory of heirlooms. Stocks in Bodega. Library catalogs.Collections of Museums. Sorted Google search.
"Liberty Avenue No. 6" next to "Home & Garden" expose us this problem.
The first, born of a dream, speaks to include and exclude, showing the environment and the connections of the author.
Turn is a homage to the disappeared and a spiritual embrace your family and loved ones that are embracing the reality of this dream.
The second, defining a closed cloister, ambition ilusamente be complete and final, surrendering after a long stretch on the evidence of the inexhaustible.The book contains poems and programmatic epic.
This is epic poems tell the story about the neighborhood and urban intervention deployed.
Almost paradoxically, we can say, in turn, it is programmatic poems,in shaping the urban intervention plan, architecture and design of a house and even a review of a temple.
Gonzalo Villar Bordones
Viena, 27 de abril de 2012.