{"id":47871,"date":"2022-07-28T07:00:57","date_gmt":"2022-07-28T12:00:57","guid":{"rendered":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/?p=47871"},"modified":"2026-10-28T17:45:28","modified_gmt":"2026-10-28T23:45:28","slug":"como-no-ahogarse-en-la-imagen-surrealismos-del-siglo-xxi","status":"publish","type":"post","link":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/?p=47871","title":{"rendered":"C\u00f3mo no ahogarse en la imagen: Surrealismos del siglo XXI"},"content":{"rendered":"
\n

Si Andr\u00e9 Breton abriera un TikTok, lo abandonar\u00eda autom\u00e1ticamente.<\/p>\n

If Andr\u00e9 Breton opened a TikTok account, he would automatically abandon it.<\/em><\/p>\n

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Crear el mito, matar el mito, resucitar el mito, hacer un meme con el mito, shitpostear el mito.<\/p>\n

Create the myth, kill the myth, resuscitate the myth, make a meme with the myth, shitpost the myth.<\/em><\/p>\n<\/div>\n<\/div>\n

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Lo siento mucho Sr. Breton, pero este surrealismo <\/em>le gana al de hace 100 an\u0303os.<\/p>\n

I\u2019m so sorry Mr Breton, but today\u2019s surrealism beats that of a hundred years ago.<\/em><\/p>\n<\/div>\n<\/div>\n

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O m\u00e1s bien, este surrealismo, es m\u00e1s surrealista <\/em>que el de hace 100 an\u0303os.<\/p>\n

Or more accurately, today\u2019s surrealism, is more surrealist than that of a hundred years ago.<\/em><\/p>\n

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Y con internet.<\/p>\n

And with internet.<\/em><\/p>\n

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El surrealismo se mueve todos los d\u00edas en las calles, en las oficinas, en los hospitales, en las redes sociales y en la realidad intr\u00ednseca que recorremos a todas horas con nuestros agitados cuerpos.<\/p>\n

Surrealism constantly moves through the streets, across offices, in hospitals, through social media and in the intrinsic reality that we live and breathe through our agitated bodies during all hours of the day.<\/em><\/p>\n

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Si algo ten\u00eda el surrealismo parisino de los veinte, es que iba m\u00e1s all\u00e1 de las pr\u00e1cticas art\u00edsticas, era un estilo de vida, era una b\u00fasqueda del alma y el ensuen\u0303o, era un viaje a las profundidades de la conciencia.<\/p>\n

If there was something particular about the Parisian surrealism of the twenties, it was that it went beyond normal artistic practices, it was a lifestyle, it was a search of the soul and dreams, it was a journey into the depths of consciousness.<\/em><\/p>\n

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Despu\u00e9s Jung le an\u0303adi\u00f3 al surrealismo de los cincuenta y los sesenta una dosis de magia y s\u00edmbolos.<\/p>\n

Later Jung added a dose of magic and symbolism to the surrealism of the fifties and sixties.<\/em><\/p>\n

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El surrealismo pop se integra a la perfecci\u00f3n con los ochenta de Reagan.<\/p>\n

Pop surrealism blended in perfectly with Reagan\u2019s 80\u2019s.<\/em><\/p>\n

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Joachim-Rapha\u00ebl Boronali es el nombre de un falso pintor futurista italiano, supuestamente nacido en G\u00e9nova y concebido por el joven escritor franc\u00e9s Roland Dorgel\u00e8s (1885\u20131973) en 1910 para satirizar el naciente arte moderno.<\/p>\n

Joachim-Rapha\u00ebl Boronali was the name of a fake Italian Futurist painter, supposedly born in Genova and conceived by the young French writer Roland Dorgel\u00e8s (1885\u20131973) in 1910 to satirise the nascent modern art trends.<\/em><\/p>\n<\/div>\n<\/div>\n

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Esta idea de Boronali es aplicable perfectamente en nuestros tiempos donde queremos ver el arte contempor\u00e1neo como una s\u00e1tira del fracaso y el fraude. Una copia barata de todo lo bueno y lo sagrado que ya se hizo.<\/p>\n

Boronali\u2019s idea is perfectly applicable to our times, where we want to see contemporary art as a satire of failure and fraud. A cheap copy of all the good and the sacred that has already been made.<\/em><\/p>\n

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Boronali es una cuenta parodia de Twitter.<\/p>\n

Boronali is a parody Twitter account.<\/em><\/p>\n

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Es imposible hablar de surrealismo sin hablar de dada\u00edsmo.<\/p>\n

It is impossible to speak about Surrealism without mentioning Dadaism.<\/em><\/p>\n

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Un surrealismo montado en escena: con disfraces, con meditaci\u00f3n trascendental, con inter\u00e9s por el lenguaje y el cuerpo.<\/p>\n

It is a surrealism that takes place on stage: with costumes, with transcendental meditation, with an interest in language and the body.<\/em><\/p>\n<\/div>\n<\/div>\n

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\u00bfC\u00f3mo podemos identificar el surrealismo del siglo XXI m\u00e1s all\u00e1 de las vanguardias?<\/p>\n

How can we identify 21st century surrealism beyond the avant-garde?<\/em><\/p>\n

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\u00bfSon necesarias m\u00e1s vanguardias?<\/p>\n

Do we need more vanguards?<\/em><\/p>\n

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Habitar la era digital mientras cientos de millones de im\u00e1genes se reproducen.<\/p>\n

We inhabit the digital age where hundreds of millions of images are reproduced.<\/em><\/p>\n

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Duchamp estaba harto de la imagen impresionista y cuestion\u00f3 el abuso de las im\u00e1genes.<\/p>\n

Duchamp had had enough of the impressionist aesthetic and questioned the abuse of images.<\/em><\/p>\n

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Duchamp estaba harto del aura del artista y la sacralizaci\u00f3n del arte.<\/p>\n

Duchamp had had enough of the artist\u2019s aura and the sacralisation of art.<\/em><\/p>\n<\/div>\n<\/div>\n

<\/div>\n
\n
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Duchamp estaba harto.<\/p>\n

Duchamp had had enough.<\/em><\/p>\n

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El surrealismo no es vivir fuera de la realidad, sobre todo el surrealismo de esta \u00e9poca, en donde la realidad es digital y f\u00edsica, es acomodada o privilegiada, es meritocr\u00e1tica o adyacente.<\/p>\n

Surrealism does not mean living outside of reality, especially the surrealism of our times, where reality is digital and physical, it is wealthy or privileged, it is meritocratic or takes place in the peripheries.<\/em><\/p>\n

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Si 1921 y 2021 se pudieran unir, tal vez tendr\u00edamos lo que siempre anhel\u00f3 Artaud m\u00e1s all\u00e1 de los surrealismos parisinos.<\/p>\n

If 1921 and 2021 were joined together as one, perhaps we would be able to have what Artaud always longed for, something beyond the Parisian surrealism.<\/em><\/p>\n

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Artaud encontr\u00f3 lo que buscaba viviendo con los Tarahumaras. Una realidad incrustada en su propia realidad.<\/p>\n

Artaud found what he was looking for whilst living with the Tarahumaras*.
\nA reality embedded in its own reality.<\/em><\/p>\n

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La b\u00fasqueda de Artaud fue condicionada por el teatro, el cuerpo, el lenguaje y el esp\u00edritu. Las im\u00e1genes est\u00e1n limitadas a un grupo de observaci\u00f3n donde la miseria y la crueldad son trabajo de estudio para la reverberante materia org\u00e1nica.<\/p>\n

Artaud\u2019s search was determined by theatre, the body, language, the spirit. Images are a limited observational grouping to study the misery and cruelty of reverberating organic material.<\/em><\/p>\n<\/div>\n<\/div>\n

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Ser surreal en el arte no significa que te muevas \u00fanicamente en mundos on\u00edricos, fantasmales o abstractos, significa moverse en una realidad magnificada por la vor\u00e1gine de las im\u00e1genes que nos acechan cada d\u00eda.<\/p>\n

Being surreal in art does not mean that you move only in dreamlike, ghostly or abstract worlds, it means moving in a reality magnified by the maelstrom of images that haunt us every day.<\/em><\/p>\n<\/div>\n<\/div>\n

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Hay unx dada\u00edsta dentro de cada unx de nosotrxs.<\/p>\n

There is a Dadaist within each of us.<\/em><\/p>\n

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La originalidad est\u00e1 sujeta a la ejecuci\u00f3n de tus propias im\u00e1genes, las im\u00e1genes que se quedan en tu psique. No hay nada original en lo real o en lo surreal, lo que hay son reproducciones y evoluciones naturales.<\/p>\n

Originality comes in the execution of your ideas, the images embedded in your psyche. There is nothing original in the real or in the surreal, what there is are natural reproductions and evolutions.<\/em><\/p>\n

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R\u00e9plicas ajust\u00e1ndose al espacio que habitan.<\/p>\n

Replicas adjusting to the space they inhabit.<\/em><\/p>\n

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La relaci\u00f3n entre Artaud y M\u00e9xico no comienza en 1936, a partir de su desembarco en el puerto de Veracruz, aquel 7 de febrero, sino mucho antes; cuando, desilusionado de la cultura europea, Artaud abriga esperanzas y conf\u00eda en que M\u00e9xico le aportar\u00e1 al hombre occidental un conocimiento perdido.<\/p>\n

The relationship between Artaud and Mexico did not begin in 1936, after he landed in the port of Veracruz, on 7th February, but much earlier, when, disillusioned with European culture, Artaud hoped and trusted that Mexico would return lost knowledge to the Westerner.<\/em><\/p>\n

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\u201cNo me parece malo [\u2026] que alguien vaya a investigar lo que queda en M\u00e9xico de un naturalismo en plena magia\u201d, escribe Artaud a Paulhan.<\/p>\n

\u201cI don\u2019t think it\u2019s a bad thing [\u2026] that someone is going to carry out an in depth investigation into what remains of pure magical naturalism in Mexico\u201d, wrote Artaud to Paulhan<\/em>.<\/p>\n

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Para Antonin Artaud la cultura no est\u00e1 en los libros, ni en las pinturas, ni en las estatuas, ni en la danza, est\u00e1 en los nervios y en la fluidez de los nervios, en la fluidez de los \u00f3rganos sensibles.<\/p>\n

For Antonin Artaud, culture was not in books, nor in paintings, nor statues, nor in dance, it is in our nerves and in the fluidity of our nerves, in the fluidity of our sensitive organs.<\/em><\/p>\n

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Si podemos identificar un surrealismo en esta \u00e9poca, ser\u00eda un hypersurrealismo.<\/p>\n

If we could identify the surrealism of our time, it would be hypersurrealism.<\/em><\/p>\n

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Un hypersurrealismo digital en donde el silencio casi no existe, en donde el silencio se erosiona con el scroll <\/em>de cada d\u00eda.<\/p>\n

A digital hypersurrealism, where silence almost does not exist, where silence erodes with the daily scroll.<\/em><\/p>\n<\/div>\n<\/div>\n

<\/div>\n
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Las drogas, la magia, la astrolog\u00eda, el satanismo, los cristales y el tarot, son una herramienta de la \u00e9pica postsurrealista.<\/p>\n

Drugs, magic, astrology, Satanism, crystals and tarot are a tool of the post-Surrealist epic.<\/em><\/p>\n<\/div>\n<\/div>\n

<\/div>\n
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En este siglo recuperamos estos s\u00edmbolos para escribir nuestro propio espacio espiritual.<\/p>\n

In this century we have revived these symbols to write our own spiritual space.<\/em><\/p>\n

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\u00bfSi ya no quedan vanguardias, lo que hacemos sigue siendo un rito?<\/p>\n

If there are no more bastions of the avant-garde left, is what we do still a ritual?<\/em><\/p>\n<\/div>\n<\/div>\n

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El hypersurrealismo es un espejo consciente de la realidad capitalista a la que nos arrojamos en las calles.<\/p>\n

Hypersurrealism is a conscious mirror of the Capitalist reality we throw ourselves into out in the streets.<\/em><\/p>\n

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Contra toda opini\u00f3n, no son los pintores sino los espectadores quienes hacen los cuadros, dijo Duchamp. \u00bfEn este tiempo ser\u00edan los usuarios los que hacen el arte?<\/p>\n

Contrary to popular opinion, Duchamp said that it is not the painters but the viewers who make the paintings. Does that mean that nowadays it is users who make the art?<\/em><\/p>\n

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Llevamos destruy\u00e9ndolo todo desde hace an\u0303os, arm\u00e1ndolo, destruy\u00e9ndolo de nuevo, arm\u00e1ndolo, en este desastre, los artistas han levantado su propio prisma de cristal, que con su fragilidad emp\u00edrica, nos ha dejado recursos y realidades m\u00faltiples.<\/p>\n

We have been destroying everything for years, putting it together, destroying it again, putting it together. In amongst this disaster, artists have raised their own glass prism, which with its empirical fragility, has given us multiple resources and realities.<\/em><\/p>\n

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Todo es surrealista hasta que llegue David Lynch a demostrar lo contrario.<\/p>\n

Everything is surrealist until David Lynch says otherwise.<\/em><\/p>\n<\/div>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Si Andr\u00e9 Breton abriera un TikTok, lo abandonar\u00eda autom\u00e1ticamente. If Andr\u00e9 Breton opened a TikTok account, he would automatically abandon it. Crear el mito, matar el mito, resucitar el mito, hacer un meme con el mito, shitpostear el mito. Create the myth, kill the myth, resuscitate the myth, make a meme with the myth, shitpost … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":61545,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_ppma_block_editor_authors":""},"categories":[15],"tags":[5890,4630,5891,5892,5893,425,5894,1181],"ppma_author":[2878],"class_list":["post-47871","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-poesia","tag-dadaismo","tag-duchamp","tag-jung","tag-los-ochenta","tag-regan","tag-surrealismo","tag-surrealismo-pop","tag-tiktok","infinite-scroll-item"],"acf":[],"authors":[{"term_id":2878,"user_id":0,"is_guest":1,"slug":"horacio-warpola","display_name":"Horacio Warpola","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=blank&r=g","avatar_alt":"","avatar_decorative":"","author_category":"","first_name":"Horacio","last_name":"Warpola","user_url":"","job_title":"","description":"Horacio Warpola es autor de varios libros de poes\u00eda, los m\u00e1s recientes Carcass (Obelisco Records, 2019 \/ Fracas, 2021), La incertidumbre cu\u00e1ntica (Editorial Montea, 2019) y Arcanum Planetae (Obelisco Records, 2020). Ha aparecido en las antolog\u00edas Todo pende de una transparencia -Muestra de poes\u00eda mexicana reciente (Vallejo & Co., Per\u00fa), Guasap -15 poetas mexicanos s\u00faper actuales (La Liga Ediciones, Chile), El autor es usuario. Antolog\u00eda panhisp\u00e1nica de escrituras digitales (Letral, Espa\u00f1a), Relatos de M\u00fasica y M\u00fasicos (Alba Editorial, Espa\u00f1a), Lines In Land -A Collection of Mexican Poems (Australian Poetry), Nueva York Poetry Review (Julio - diciembre 2020), entre otras. Colabora y trabaja en proyectos de literatura electr\u00f3nica, arte digital y arte contempor\u00e1neo, mantiene en Twitter el bot literario @Poes\u00eda_es_bot y tiene un programa semanal en Radio Nopal. Ha sido becario del PECDA y el FONCA. \n\n"}],"_links":{"self":[{"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/posts\/47871","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=47871"}],"version-history":[{"count":2,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/posts\/47871\/revisions"}],"predecessor-version":[{"id":63337,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/posts\/47871\/revisions\/63337"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=\/wp\/v2\/media\/61545"}],"wp:attachment":[{"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=47871"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=47871"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=47871"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/tierraadentro.fondodeculturaeconomica.com\/index.php?rest_route=%2Fwp%2Fv2%2Fppma_author&post=47871"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}