Words to see and touch: a dialogue with Incaic culture in Cecilia Vicuña’s poetry
Poet, performer and transnational artist, Cecilia Vicuña (Santiago de Chile, 1948) has developed a multifaceted work in which the experimentation with the most diverse materials, registers and formats stands out. Hers is a work that crosses different themes and geographies, always rehearsing new way...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Centro de Literatura Comparada
2019
|
| Materias: | |
| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/2758 |
| Aporte de: |
| Sumario: | Poet, performer and transnational artist, Cecilia Vicuña (Santiago de Chile, 1948) has developed a multifaceted work in which the experimentation with the most diverse materials, registers and formats stands out. Hers is a work that crosses different themes and geographies, always rehearsing new ways to visualize and deepen its Andean roots. In this paper we propose an approach to La Wik'uña (1990), the first book of the author published in Chile, where the pre-Columbian legacy is explored through the recovery of symbols, words, rituals and beliefs of the Inca, Quechua and Guarani cultures. It is a text that, as clarified in a final note by the author, was created together with the essay Abstract Stone. The Inca sculpture: a contemporary vision (1989) of the artist César Paternosto (La Plata, 1931), by then her husband. Our aim is to explore the contact zones between visuality, materiality and writing in the compositions of La Wik'uña through the examination of a series of images and strategies that converge in a "visual- tactile semiotics" of poetry, analogous to the one that Paternosto recognized in Inca architecture. |
|---|