Alejandra Pizarnik or reading the visible and contemplating the legible

Alejandra Pizarnik was an extraordinary observer. Her formal bet is part of a radically visual and transgressive tradition that questions itself –like one of the characters in Los poseídos entre lilas– about “the gift of the gaze”. The dadaist experiments, Breton's reflections on painting and B...

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Autor principal: Galiazo, Evelyn
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2023
Materias:
Pizarnik
writing
plasticity
rewriting
collage
escritura
plasticidad
reescritura
Acceso en línea:https://revistas.unc.edu.ar/index.php/ART/article/view/42245
Aporte de:
Artilugio de Universidad Nacional de Córdoba
id I10-R361-article-42245
record_format ojs
spelling I10-R361-article-422452024-09-29T17:51:47Z Alejandra Pizarnik or reading the visible and contemplating the legible Alejandra Pizarnik o leer lo visible y contemplar lo legible Galiazo, Evelyn Pizarnik writing plasticity rewriting collage Pizarnik escritura plasticidad reescritura collage Alejandra Pizarnik was an extraordinary observer. Her formal bet is part of a radically visual and transgressive tradition that questions itself –like one of the characters in Los poseídos entre lilas– about “the gift of the gaze”. The dadaist experiments, Breton's reflections on painting and Bataille's texts on the eye left traces in her writings. But his poetic images –which he called “visions”, following a slogan from Rimbaud– are also inspired by the hybrid figures of Bosch, Goya's Caprichos, Van Gogh's self-mutilation, Michaux's Mezcal drawings and the violence of Artaud's manuscripts. In addition to a disturbing aesthetic, Pizarnik takes tools and techniques from these artists. The following pages try to explore her writing laboratory as an atelier and editing room, exposing the materials with which she elaborates her work and her constructive principles of her poetics. The theoretical operation carried out by Pizarnik in the field of the image allows us to understand the plasticity of a writing that unfolds in a continuous slide between two languages. Alejandra Pizarnik fue una observadora extraordinaria. Su apuesta formal se inscribe en una tradición radicalmente visual y transgresora que se interroga –como uno de los personajes de Los poseídos entre lilas– sobre “el don de la mirada”. Los experimentos dadaístas, las reflexiones de Breton en torno a la pintura y los textos de Bataille sobre el ojo dejaron huellas en sus escritos. Pero sus imágenes poéticas –a las que llamaba “visiones”, siguiendo una consigna de Rimbaud– se inspiran también en las figuras híbridas de El Bosco, los Caprichos de Goya, la automutilación de Van Gogh, los dibujos mezcalianos de Michaux y la violencia de los manuscritos de Artaud. Además de una estética perturbadora, Pizarnik toma herramientas y técnicas de estos artistas. Las páginas siguientes intentan explorar su laboratorio de escritura como atelier y sala de montaje, exponiendo los materiales con los que elabora su obra y los principios constructivos de su poética. La operación teórica que lleva a cabo Pizarnik en el campo de la imagen permite comprender la plasticidad de una escritura que se despliega en un continuo deslizamiento entre dos lenguajes.  Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2023-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-blind peer-reviewed article Artículo revisado por sistema de pares doble ciego application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/ART/article/view/42245 10.55443/artilugio.n9.2023.42245 Artilugio; No. 9 (2023): Multiple fabulations and possible technologies; 135-148 Artilugio; Núm. 9 (2023): Fabulaciones múltiples y tecnologías posibles; 135-148 Artilugio; n. 9 (2023): Fabulaciones múltiples y tecnologías posibles; 135-148 2408-462X 10.55443/artilugio.n9.2023 spa https://revistas.unc.edu.ar/index.php/ART/article/view/42245/42553 https://revistas.unc.edu.ar/index.php/ART/article/view/42245/42554 https://revistas.unc.edu.ar/index.php/ART/article/view/42245/42555 Derechos de autor 2023 Evelyn Galiazo https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-361
container_title_str Artilugio
language Español
format Artículo revista
topic Pizarnik
writing
plasticity
rewriting
collage
Pizarnik
escritura
plasticidad
reescritura
collage
spellingShingle Pizarnik
writing
plasticity
rewriting
collage
Pizarnik
escritura
plasticidad
reescritura
collage
Galiazo, Evelyn
Alejandra Pizarnik or reading the visible and contemplating the legible
topic_facet Pizarnik
writing
plasticity
rewriting
collage
Pizarnik
escritura
plasticidad
reescritura
collage
author Galiazo, Evelyn
author_facet Galiazo, Evelyn
author_sort Galiazo, Evelyn
title Alejandra Pizarnik or reading the visible and contemplating the legible
title_short Alejandra Pizarnik or reading the visible and contemplating the legible
title_full Alejandra Pizarnik or reading the visible and contemplating the legible
title_fullStr Alejandra Pizarnik or reading the visible and contemplating the legible
title_full_unstemmed Alejandra Pizarnik or reading the visible and contemplating the legible
title_sort alejandra pizarnik or reading the visible and contemplating the legible
description Alejandra Pizarnik was an extraordinary observer. Her formal bet is part of a radically visual and transgressive tradition that questions itself –like one of the characters in Los poseídos entre lilas– about “the gift of the gaze”. The dadaist experiments, Breton's reflections on painting and Bataille's texts on the eye left traces in her writings. But his poetic images –which he called “visions”, following a slogan from Rimbaud– are also inspired by the hybrid figures of Bosch, Goya's Caprichos, Van Gogh's self-mutilation, Michaux's Mezcal drawings and the violence of Artaud's manuscripts. In addition to a disturbing aesthetic, Pizarnik takes tools and techniques from these artists. The following pages try to explore her writing laboratory as an atelier and editing room, exposing the materials with which she elaborates her work and her constructive principles of her poetics. The theoretical operation carried out by Pizarnik in the field of the image allows us to understand the plasticity of a writing that unfolds in a continuous slide between two languages.
publisher Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
publishDate 2023
url https://revistas.unc.edu.ar/index.php/ART/article/view/42245
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first_indexed 2024-09-03T22:28:21Z
last_indexed 2025-02-05T22:14:28Z
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