When poetry overflows like common plastic

Hai xa moito tempo que o visual element get into shape without marinade part gives poetry, since the invention of typeface logos, he attacks the placement of two lines, things that gained great importance in the artistic avant-gardes of the early 20th century—perhaps the Dadaists lead the way—and were even anticipated decades earlier by the French bard Stéphane Mallarmé. Huidobro, Apollinaire, Oquendo de Amat, Oliverio Girondo, Manuel Antonio, Gómez de la Serna… they all left beautiful achegas. The Greek origin of calligrams, dated three hundred years before Christ, is engraved. Plastic also did not diminish the power of the written word, and the fixed place did not lead to texts and different letter families (these are very hairy things of the main xenia in the case of Chinese and Japanese calligraphy, for example). There was one creator in Spain who — especially in the second half of the last century — ended up having a notable management and influence in this area, that is, Barcelona Joan Brossa, that it is not known with certainty whether or not his work was more poetic than painting and sculpting; Probably or suitable sex to confirm that poetry is present in everything or in what he does.

Does the xenio who touched Bross know or not Pepe Caccamo (Vigo, 1950) i Baldo Ramos (Celanova, 1971), two who eat or Catalan It cannot be said whether they are more poets than plastic artists. Outside of diso, they understand each other very well and have collaborated on exhibition projects such as VisualwithVersa and On a double page. Ao redor desa amizade e intimidade published the reverse of the reverse (Libros da Frouma, 2014) i convert books (Galician Books, 2016), which brings together the verses of 40 poets and also the show.

This consolidated relationship, which began to become particularly productive around 2014, expands its catalog of concretions with Cryptography (Editora Alvarellos), a book that does not consciously dilute its authorship, there is no evidence of the absolute complicity, the coherence that pervades this secret exercise that combines writing and illustration, without a calm, respectful and constant dialogue. “I feel that the world is shaking / like an ink man stroking his mustache / a cat spitting out these verses”. Can you say better, more accurately or what is empathy and consensus of lapis, pen and quill? “O red concise / eo black detailed / […] / Get rid of leri, / that love is something else. / Black flower / with anacolut petals. / He loves me diagonally, / like orballo morno, / ingua de auga doce / ou rima sen sedativi. / Pois iso will be the logo / or the love of two inks».

or text transcends like this or simply feito poetic get up —coa sue nidia «obxecual vocation»— ace work of artcauses the agromanic art of small things, quiet voices, the humblest actions.

They will similarly cancel the book I wanted to tell you what a house is (Chan da Pólvora Editora), shared experience of the poet Maria to Cebreiro plastic artist Anton Lamazares.

Childbirth and the loss of children count the years

Maria to Cebreiro (Santiago, 1976) i Anton Lamazares (Lalín, 1954) are not true artistic parelles like Cáccamo e Ramos, but they equally illuminate the pages of his book — the expressive title I wanted to tell you what unha is Home— never convert it poetic-plastic work for a (not unique) purpose connect little ones with music and the written word (which can also be declared here as de moi moi doado). What a stupid speech, the poet compostelá sings the experience of motherhood — to which he also recently devoted a critical essay — at a pace that, in an almost spectacular, parallel way, Lamazares brush strikes the experience of loss of life, which he had more than ten years ago when he died. The result is an item that acts as a treat to open two birds of prey, poem-letteras Maria do Cebreiro said, Cheo of emotional strength and beauty but there is also a fresh, empathetic and persistent wisdom that constitutes a way of living.