is curious not the tenacity with which some "use" the word "poetic." For some it has become the catch phrase, the adjective that serves to account for what they do not understand. "I do not understand something. Ah, it must be because it is very poetic." Above all I think about the contemporary art world. Well, in the world of contemporary art criticism. Most of today's artists current poetry brings loose. The same seems to be happening to them critics. Although this is more problematic. I talked about this in a post above. And it seems to be repeated. The poetic is the wildcard. It is still strange that when a critic of contemporary art talk art has a very advanced notion of this concept, but when talking about poetry see in this a strange sense arcane, indecipherable, as if poetry was still the Priestess of the arts . Yes, on the one hand, when an art critic is faced with a work that does not know how to get out but knows it must say something positive, the word is "poetic." And if you have to talk about a more current poet Rilke be cited or maybe Celan. It is difficult know why this happens. One more example. A recent example. Fernando Castro Flórez. In a recent review on the exposure of Carlos Garaicoa, Fernando Castro returns to the quirky poetic sense of what some critics and theorists of art (poetry away from the current one). After talking to (and quote) Derrida, Adorno, Bourriaud, etc. In the end Castro Flórez talks about parts of the exhibition entitled "End of Silence" and has a great pint (despite the fine words of the critic .) The exhibit features a series of carpets on which are written a series of words from which we are asked to reflect on the state of Havana. A critic calls it "document as an ethnographer." But not only is documented as an ethnographer because as they are words on a concrete support, and are deep-sounding words (ie what is commonly called poetic), the critic maintains that the artist creates "an intense period of concrete poetry ". "Cómorrrr? He adds: "Just copy some of the phrases that formed from what is on the ground habanero to verify that the poetic spirit is evident." Yes, of course, very evident. Let's see what is written: "The volcano will erupt. Light. Hope." King destroyed or redeemed, "" The struggle is all of all is the struggle. " This he called Castro Flórez poetic intensity. I do not know, but I find intensity and poetic lyricism, if we separate those words from a particular aesthetic effect. Without it nothing more than corny, bad poetry of the nineteenth century. Not being on the street in Havana or wherever and put it in writing poeticity acquire words. The important of these parts are not the words, as the critic insists, but perhaps their appearance, but not poetic intensity. Another example of a poem than any current poet blush how bad it is as a poem is as follows: "The general sadness / deny pleasures." In short, says Castro Flórez at the beginning of this criticism by making the best line of criticism: "I have a fever and flu seems here to stay."
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