Looking at the city from the sewer. (Post) urban fictions

The article intends to investigate the (post) urban figurations of the city Havana from the productions of two cuban artists: a sample of the plastic artista, Carlos Garaicoa, Epifanías urbanas (2017) and the book of stories by the writer Jorge Angel Pérez,  En la Habana no son tan elegante...

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Autor principal: Calomarde, Nancy
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades 2023
Materias:
(post)urban fictions
sewer
catastrophe
end
ficciones (post)urbanas
alcantarilla
catástrofe-fin
Acceso en línea:https://revistas.unc.edu.ar/index.php/recial/article/view/41703
Aporte de:
Recial de Universidad Nacional de Córdoba
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spelling I10-R377-article-417032025-11-29T20:15:40Z Looking at the city from the sewer. (Post) urban fictions Mirar la ciudad desde una alcantarilla. Ficciones (post)urbanas Calomarde, Nancy (post)urban fictions sewer catastrophe end ficciones (post)urbanas alcantarilla catástrofe-fin The article intends to investigate the (post) urban figurations of the city Havana from the productions of two cuban artists: a sample of the plastic artista, Carlos Garaicoa, Epifanías urbanas (2017) and the book of stories by the writer Jorge Angel Pérez,  En la Habana no son tan elegantes (2012).In both cases, it is posible t oread these heterogeneous textures in terms of forms of (post)urban dystopia linked to a series of images of device that frecuently reappear in the plastic arts and the contemporany literatura as fictions of “after the after” (De la campa, 2017, p. 33). They are stories that not only deconstruct the modulations of the modernazing myth of the Latin American city, but also advance towards an aesthetic-cosmological inflections that rereads and disorganizes the system of dichotomies with wich traditions processed the link between the creative subject and the urban landscape. My hypothesis is that the figurations of the city, seen and imagined from the decentered place of the sewer, produce a centrifugal moviment on the imagine archive of the city, turning the figurations into synecdoches of los and the squint since, while city, Havana has scaped from its founding protocols, it has also scaped from the genealogy of the mythical Latin American cities (Macondo, Santa María). Then, the oblique gaze of art, form the becoming sewer (of city itself but also the place of gaze), processes its opacity. El artículo se propone indagar en las figuraciones (post)urbanas de la ciudad de La Habana a partir de las producciones de dos artistas cubanos: una muestra del artista plástico, Carlos Garaicoa, Epifanías urbanas (2017) y un libro de relatos del escritor Jorge Ángel Pérez, En La Habana no son tan elegantes (2012). En ambos casos, es posible leer esas texturas heterogéneas en clave de formas de distopía (post)urbana enlazadas a una serie de imágenes y dispositivos que, con frecuencia, reaparece en las artes plásticas y la literatura contemporáneas como ficciones del “después del después” (De la Campa, 2017, p. 33). Son relatos que no solamente deconstruyen las modulaciones del mito modernizador de la urbe latinoamericana sino que avanza hacia una inflexión estético-cosmológica que relee y desordena el sistema de dicotomías con las que la tradición procesó el vínculo del sujeto creador con el paisaje urbano. Mi hipótesis es que la figuración de una ciudad, vista e imaginada desde el lugar descentrado de la alcantarilla, produce un movimiento centrífugo sobre su archivo imagético, convirtiendo a esas figuraciones en sinécdoques del extravío y de lo estrábico ya que, en tanto que urbe, La Habana se ha fugado de sus protocolos fundacionales, se ha fugado también de la genealogía de las ciudades míticas latinoamericanas (los Macondo, las Santa María). Entonces, la mirada oblicua del arte, desde el devenir alcantarilla (ciudad/mirada), procesa su opacidad. Facultad de Filosofía y Humanidades 2023-07-08 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/recial/article/view/41703 10.53971/2718.658x.v14.n23.41703 Recial; Vol. 14 Núm. 23 (2023): Dossier: Configuraciones de La Habana en las escrituras-texturas cubanas recientes; 205-219 2718-658X 1853-4112 10.53971/2718.658x.v14.n23 spa https://revistas.unc.edu.ar/index.php/recial/article/view/41703/41819 https://revistas.unc.edu.ar/index.php/recial/article/view/41703/41932 https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-377
container_title_str Recial
language Español
format Artículo revista
topic (post)urban fictions
sewer
catastrophe
end
ficciones (post)urbanas
alcantarilla
catástrofe-fin
spellingShingle (post)urban fictions
sewer
catastrophe
end
ficciones (post)urbanas
alcantarilla
catástrofe-fin
Calomarde, Nancy
Looking at the city from the sewer. (Post) urban fictions
topic_facet (post)urban fictions
sewer
catastrophe
end
ficciones (post)urbanas
alcantarilla
catástrofe-fin
author Calomarde, Nancy
author_facet Calomarde, Nancy
author_sort Calomarde, Nancy
title Looking at the city from the sewer. (Post) urban fictions
title_short Looking at the city from the sewer. (Post) urban fictions
title_full Looking at the city from the sewer. (Post) urban fictions
title_fullStr Looking at the city from the sewer. (Post) urban fictions
title_full_unstemmed Looking at the city from the sewer. (Post) urban fictions
title_sort looking at the city from the sewer. (post) urban fictions
description The article intends to investigate the (post) urban figurations of the city Havana from the productions of two cuban artists: a sample of the plastic artista, Carlos Garaicoa, Epifanías urbanas (2017) and the book of stories by the writer Jorge Angel Pérez,  En la Habana no son tan elegantes (2012).In both cases, it is posible t oread these heterogeneous textures in terms of forms of (post)urban dystopia linked to a series of images of device that frecuently reappear in the plastic arts and the contemporany literatura as fictions of “after the after” (De la campa, 2017, p. 33). They are stories that not only deconstruct the modulations of the modernazing myth of the Latin American city, but also advance towards an aesthetic-cosmological inflections that rereads and disorganizes the system of dichotomies with wich traditions processed the link between the creative subject and the urban landscape. My hypothesis is that the figurations of the city, seen and imagined from the decentered place of the sewer, produce a centrifugal moviment on the imagine archive of the city, turning the figurations into synecdoches of los and the squint since, while city, Havana has scaped from its founding protocols, it has also scaped from the genealogy of the mythical Latin American cities (Macondo, Santa María). Then, the oblique gaze of art, form the becoming sewer (of city itself but also the place of gaze), processes its opacity.
publisher Facultad de Filosofía y Humanidades
publishDate 2023
url https://revistas.unc.edu.ar/index.php/recial/article/view/41703
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first_indexed 2024-09-03T23:09:06Z
last_indexed 2025-12-27T05:10:36Z
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