Painted Poetry, Poetry by the Meter. The Visual Vanguard in Poémes Peintre (1922) by Vicente Huidobro and 5 Meters of Poems (1927) by Carlos Oquendo de Amat

    In this article, examines the exhibition and construction of some of the Painted Poems that Vicente Huidobro exhibited in Paris, in 1922, a fact that marks the provocative relationship between poetry and painting throughout his art exhibition. On the other hand, the production...

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Autores:
Tipo de recurso:
http://purl.org/coar/resource_type/c_6686
Fecha de publicación:
2020
Institución:
Universidad Pedagógica y Tecnológica de Colombia
Repositorio:
RiUPTC: Repositorio Institucional UPTC
Idioma:
spa
OAI Identifier:
oai:repositorio.uptc.edu.co:001/12771
Acceso en línea:
https://revistas.uptc.edu.co/index.php/la_palabra/article/view/9490
https://repositorio.uptc.edu.co/handle/001/12771
Palabra clave:
Acentric Poem
Avant Garde
Carlos Oquendo de Amat
Painted Poem
Vicente Huidobro
Carlos Oquendo de Amat
poema acéntrico
poema pintado
Vanguardia
Vicente Huidobro
Rights
License
Derechos de autor 2020 LA PALABRA
Description
Summary:    In this article, examines the exhibition and construction of some of the Painted Poems that Vicente Huidobro exhibited in Paris, in 1922, a fact that marks the provocative relationship between poetry and painting throughout his art exhibition. On the other hand, the production of poetry is explored as a dynamic and mobile aesthetic object in 5 metros de poemas by Carlos Oquendo de Amat. With the analysis of this poetic production I propose to establish a comparison between the poems "Paisaje" by Huidobro,  and "Film del paisaje" by Oquendo de Amat, to point out how the need for design and the graphic-spatial dimension of the poems marked the avant-garde spirit in Latin America, while at the same time leading the poets to conceive poetry as a material and aesthetic production beyond the traditional support and format of the book.