Un lugar para ningún objeto
Subtitle: las Esculturas subterráneas de J.E. Eielson
By: Rodrigo Vera Cubas
Contributors: Eielson, Jorge Eduardo, 1924-2006
Edition: Primera edición.
Publisher: Meier Ramirez, Publicaciones Independientes
Published: 2017
Place of publication: Lima - Perú
Language: spa
Number of pages: 308
ISBN-13: 9786124705533
Subjects: Criticism and interpretation; Conceptual art; Performance art; Peruvian Arts
Other titles: Esculturas subterráneas de J.E. Eielson
Description: Rodrigo Vera's book proposes an approach to modern poet and artist Jorge Eduardo Eielson's (Lima, 1924 - Milán, Italy 2006) work from an angle little explored in local art and / or literature criticism. The author maps the interstitial spaces between disciplines through the analysis of what is perhaps one of the most enigmatic projects of his career: the underground sculptures or sculptures to read. This project alludes to a series of pieces of impossible accomplishment programmed to be buried in different cities of the world that the artist visited between 1966 and 1969. They were part of the series a gruesome Sculpture, ready to be buried 17 meters below the sub-oriental wing from the Plaza de Armas of Lima, a sculpture proposed to NASA to be placed on the Moon and some others abandoned in the subsoil of Paris, New York, England and Rome. Influencing the radically utopian quality of such projects, Vera wonders about the support-place in which utopia inscribes its material trace, which finally makes possible its social circulation in an unstable space between the archive and the museum. The answer aims to reexamine the value that paper acquires in Eielson's art: "Paper is that materiality that sustains the projection of an action only possible to be articulated in the text space, which occurs as an effect of having met the limit of its realization in the social space. "From that key, the book rereads a set of poems that put on stage the plastic, sculptural or performative values of paper, discusses the underground work of his so-called unwritten poetry (installations, events, performances) and review the complex genealogy of conceptual art, taking into account the nuances of its European, North American and Latin American sides and the ways in which these refer to concerns with technology and the memory of the time.
Notes: Includes bibliographical references (pages 289-308).