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Este volumen nace con el propósito de producir conocimiento crítico sobre las prácticas poéticas en el espacio público, sus funciones y su eficacia dentro de éste. A la inestabilidad funcional de la poesía y lo lírico en la actualidad se une la noción de espacio público, entendida tanto desde su vertiente conceptual, filosófica y social, como desde su vertiente material, física, ligada a la (re)presentación escénica. Espacios, sujetos e instituciones se redefinen de la mano de esta combinación. Así, la inclusión de la espacialidad en una teoría poética actualizada, la constitución de nuevos sujetos y subjetividades y la identificación de públicos y prácticas en torno a los conceptos de performatividad e intervención constituyen los vectores fundamentales de este libro. Sin acotación de ningún tipo en términos lingüísticos, nacionales o interartísticos, los trabajos aquí recogidos se reparten entre lo teórico-crítico y metodológico, los estudios de caso y las reflexiones en primera persona, teniendo como objetivo último la valoración de la incidencia de la poesía en el espacio público y sus efectos socio-políticos.
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Més que no pas d’incidència, m’ha sortit de parlar de dissidència, ja que la incidència ha de respondre en primer lloc a una manera de ser, de fer i de situar-se en el món. I començaré, per citar una frase del nostre company de llibre, en Márcio-André, que ve en relació al que és per mi un artista. Sempre dic que un artista ho és perquè no sap fer una altra cosa (o no vol, o renega de fer-ho). I vet aquí el que Márcio-André respon pel que fa a això, en una entrevista que es fa a ell mateix, i la seva resposta, la subscric.
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This study presents an analysis of the appropriation of public space by cultural producers in Cuba, with a focus on art collectives, in particular, OMNI Zona Franca from Alamar, east of Havana. Based on primary research conducted with the artists, cultural producers, and scholars, I discuss OMNI’s work in the context of the history and formation of a nascent movement for civil society in Cuba, locating the collective’s work within the matrix of alternative and African diasporic cultural production. The latter is framed as part of a historical continuum and in the context of the discussion of race that emerged in Cuba’s public sphere during the 1990s with a concurrent movement among black Cuban artists to address issues of race. Situating OMNI’s work in a longer history of Afro-Cuban cultural production in Cuba as well as within the history of art collectives this study demonstrates how OMNI’s participation in the public sphere relates to social practice, appropriation of space, alternativity, and the forging of a wide coalition of civil and artistic alternatives among diverse communities. I draw on discourses on the production of space, particularly those of Henri Lefebvre and Raymond Williams, and argue that the unique and specific history of Alamar provided a fertile ground for alternative culture where multiple and countercultural expressions could be incubated and take root. The struggle over public space and the attempts by artists to create an autonomous public sphere in Cuba have led to continual conflict with the state. Using Gramsci’s theorization of civil society as incorporating both the hegemonic and contestatory realms, I contend that the level of contestation in OMNI Zona Franca’s work should be seen as counter-hegemonic expression aimed at altering the status quo. Producing new social relations, the collective’s practice is offered as an example of how art and cultural production is inaugurating alternative counter-spaces in the context of a demand for a more inclusive and representative Revolutionary public sphere.
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In October 2007, over the course of a weekend, several hundred people descended on Coronel Pringles, a small town in the Argentine pampas. For two days they would participate, along with many of the town’s residents, in a series of workshops and performances held under the aegis of the Asociación Civil Estación Pringles, an organization founded in 2006 and headed by the poet Arturo Carrera. This inaugural event centered on the practice of declamation, one of the ‘viejas prácticas sociales y artı́sticas’ (‘timeworn social and artistic practices’) that Estación Pringles seeks to place into dialogue with the work of contemporary artists, writers and performers. In its founding statement, the project casts this dialogue in theatrical terms, calling itself ‘una plataforma o una escena donde prácticas estéticas dispersas en un espacio lateral puedan agregarse, articularse, hacerse visibles’ (‘a platform or scene where aesthetic practices, scattered throughout a lateral space, might come together, be articulated, become visible’). Indeed, an emphasis on theatricality would reappear in Carrera’s closing remarks to the 2007 gathering, in which he couches the practice of declamation in terms of a ‘teatrito,’ a ‘little theater’ (Estación Pringles).
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Empreendendo uma análise profunda de três romances representativos da literatura latino-americana recente, Diana Klinger aborda dois elementos fundamentais presentes na ficção contemporânea: a presença marcante da primeira pessoa, em que se identificam aspectos de discurso autobiográfico, e uma perspectiva afastada sobre o outro, caracterizando uma literatura que atravessa fronteiras culturais. Escritas de si, escritas do outro constitui, portanto, obra fundamental para a compreensão das novas tendências da ficção contemporânea e, notadamente, da produção literária latino-americana da atualidade.
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