Brutal Hook-up. Osvaldo Lamborghini, (visual) artist

Authors

DOI:

https://doi.org/10.7203/eutopias.25.26089

Keywords:

Archive, new materialisms, authorship, residuality, visual turn.

Abstract

In the 80s, Osvaldo Lamborghini produced what could be called his “visual work”: drawings made with markers, pens and other school supplies, exquisite collages made with out-of-date pornographic publications, plasters composed of dubious materials. The Teatro proletario de cámara and the “objectual” work (cigarette cases, boxes, notebook covers that he later used a little, until he got bored and moved on to the next) dates from these years. His passion for the materiality of the signifier and the literality that palpitates in his writing finds a new path in this task that occupies him during his last years in Barcelona. This essay addresses this production, with the conviction that this archive composed by images and objects does not reveal an anecdotal and parallel task, but a brutal hook-up between writing and visuality that refocuses Lamborghini’s poetics within the framework of the expanded field opened by the avant-garde of the second part of the 20th century.

Downloads

Download data is not yet available.

Author Biography

Paola Cortes Rocca, Consejo Nacional de Investigaciones Científicas y Técnicas / UNA-Untref

Paola Cortes Rocca is an essayist, researcher and cultural critic specialized in the intersection between writing and visuality. She earned her Ph.D. from Princeton University and did her postdoctoral studies at the University of Southern California with a fellowship from the Mellon Foundation. She taught at USC and at San Francisco SU where she was Chair of the Department of Foreign Languages. She currently lives in Argentina and has a research position at CONICET and also is a professor at the Universidad Nacional de las Artes. Her book El tiempo de la máquina: retratos, paisajes y otras imágenes de la nación explores the impact of photography on the late-19th-century Latin American cultural field. A translator of Boris Groys, Jonathan Crary and Timothy Morton, she is also the author of essays that address photography and literature from issues such as landscape and residuality, ghosts and political imagination, activism and performativity. She participates in the network “Archives in Transition. Collective memories and subaltern uses” integrated by Goethe-Universität Frankfurt am Main, Università Degli Studi Roma Tre, and the National University of Tres de Febrero, among others. Since 2016, she has been a member of the group of feminist activists Ni Una Menos.

References

Aira, César. “Las dos fórmulas”. El sexo que habla. Osvaldo Lamborghini. Catálogo a cargo de Sara Plasencia. Barcelona: MACBA, 2015, pp. 23-28.

 

Buchloh, Benjamin. “Atlas/Archive”. The Optic of Walter Benjamin. Ed. Alex Coles. vol. III. Londres: Black Dog Publishing Limited, 1999, pp. 27-48.

 

Foucault, Michel. La arqueología del saber. Traducción de Aurelio Garzón del Camino. Buenos Aires: Siglo XXI, 1999 [1969].

 

Boris Groys. Volverse público: las transformaciones del arte en el ágora contemporánea. Traducción de Paola Cortes Rocca. Buenos Aires: Caja Negra, 2014.

 

Chejfec, Sergio. “De la inasible catadura de Osvaldo Lamborghini”. Babel. Revista de libros, 10, 1989, p. 21.

 

Hernández, José. Martín Fierro. Buenos Aires: Kapelusz, 1980 [1872].

 

Laddaga, Reinaldo. Espectáculos de realidad. Rosario: Beatriz Viterbo, 2007.

 

Lamborghini, Osvaldo. Novelas y cuentos. Barcelona: Ediciones del Serbal, 1988.

 

— Osvaldo Lamborghini Inédito. Edición a cargo de Néstor Colón y Agustina Pérez. Buenos Aires: Lamás Médula, 2019.

 

— OLn. Traducción de Ben Bollig (inglés), Hannes Sättele (alemán), Guillaume Contré (francés), Raul Schenardi (italiano) y Ariadna García (portugués). Prólogo y coordinación de Agustina Pérez. Buenos Aires: Fadel & Fadel, 2020.

 

Masotta, Oscar. “Yo cometí un happening”. Happenings. Buenos Aires: Jorge Álvarez, 1967.

 

Mitchell, W.J.T. “Mostrando el ver. Una crítica de la cultura visual”. Estudios visuales, 1, 2003 [2000], pp. 17-40. Traducción de Pedro Cruz Sánchez.

 

Nancy, Jean-Luc. La comunidad desobrada. Tradución de Pablo Perera. Madrid: Arena libros, 2001.

 

Nazar, Mariana, y Pak Linares, Andrés. “El hilo de Ariadna”. Políticas de la memoria, 6/7, 2006, pp. 212-18.

 

Pauls, Alan. “El problema Bellatin”. El interpretador. Literatura, arte y pensamiento, 20, abril, 2005. 


— “Pornoliteral”. El sexo que habla. Osvaldo Lamborghini. Barcelona: MACBA, 2015, pp. 107-152.

 

Pérez, Agustina. La retombée de la materialidad en la obra de Osvaldo Lamborghini (1969-1985): lo escrito, lo visual, lo objetual. Tesis de doctorado en Teoría comparada de las artes. Buenos Aires, Universidad Nacional de Tres de febrero, 2022.

 

Preciado, Beatriz [Paul]. “Encamados”. El sexo que habla. Osvaldo Lamborghini. Barcelona: MACBA, 2015, pp. 153-164.

 

Strafacce, Ricardo. Osvaldo Lamborghini, una biografía. Buenos Aires: Mansalva, 2008.

Downloads

Published

2023-07-18

How to Cite

Cortes Rocca, P. (2023). Brutal Hook-up. Osvaldo Lamborghini, (visual) artist. EU-topías. A Journal on Interculturality, Communication, and European Studies, 25, 99–108. https://doi.org/10.7203/eutopias.25.26089
Metrics
Views/Downloads
  • Abstract
    212
  • PDF (Español)
    119

Issue

Vol. 25 (2023)

Section

DOSSIER

License

The authors conserve the copyright. All content published in EU-topías. Journal of interculturality, Communication, and European Studies are subject to the license Creative Commons Attribution-NonCommercial-ShareAlike 4.0 license. The full text of the license can be found at <http://creativecommons.org/licenses/by-nc-sa/4.0>

They may be copied, used, disseminated, transmitted and publicly displayed, provided that:

  • The authorship and original source of the publication is cited (journal, publisher and URL of the work).
  • They are not used for commercial purposes.
  • The existence and specifications of this license of use are mentioned.

It is the responsibility of the authors to obtain the necessary permissions for images that are subject to copyright.

Metrics

Similar Articles

1 2 3 > >> 

You may also start an advanced similarity search for this article.