Book contents
- Frontmatter
- Contents
- List of Illustrations
- List of Contributors
- Acknowledgments
- Introduction: A Crosscurrent of Contemporary Latin American Women Multimedia Writers and Artists
- 1 The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual
- 2 Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation)
- 3 An Anthropophagic Ch’ixi Poetics
- 4 My Relationship with Artistic Creation Began with Words
- 5 Imagetext
- 6 Voices/Bodies
- 7 Redefining Meaning: The Interweaving of the Visual and Poetic
- 8 The Territory Is Home
- 9 Reflections on a Multimedia Practice
- 10 Digital Weaving
- 11 Eli Neira, Regina José Galindo, and Ana Clavel: “Polluting” Corporealities and Intermedial/Transliterary Crossings
- 12 The Digital Condition: Subjectivity and Aesthetics in “Fe/males” by Eugenia Prado Bassi
- 13 The Transmedia, Post-Medium, Postnational, and Nomadic Projects of Pilar Acevedo, Rocío Cerón, and Mónica Nepote
- 14 The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco
- 15 The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía del dolor by Mónica González
- 16 Words, Memory, and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui
- 17 Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache, and Karen Villeda
- 18 Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia
- 19 Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini
- Bibliography
- Index
- Tamesis
4 - My Relationship with Artistic Creation Began with Words
Published online by Cambridge University Press: 17 December 2023
- Frontmatter
- Contents
- List of Illustrations
- List of Contributors
- Acknowledgments
- Introduction: A Crosscurrent of Contemporary Latin American Women Multimedia Writers and Artists
- 1 The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual
- 2 Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation)
- 3 An Anthropophagic Ch’ixi Poetics
- 4 My Relationship with Artistic Creation Began with Words
- 5 Imagetext
- 6 Voices/Bodies
- 7 Redefining Meaning: The Interweaving of the Visual and Poetic
- 8 The Territory Is Home
- 9 Reflections on a Multimedia Practice
- 10 Digital Weaving
- 11 Eli Neira, Regina José Galindo, and Ana Clavel: “Polluting” Corporealities and Intermedial/Transliterary Crossings
- 12 The Digital Condition: Subjectivity and Aesthetics in “Fe/males” by Eugenia Prado Bassi
- 13 The Transmedia, Post-Medium, Postnational, and Nomadic Projects of Pilar Acevedo, Rocío Cerón, and Mónica Nepote
- 14 The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco
- 15 The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía del dolor by Mónica González
- 16 Words, Memory, and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui
- 17 Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache, and Karen Villeda
- 18 Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia
- 19 Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini
- Bibliography
- Index
- Tamesis
Summary
My relationship with artistic creation began with words. A little girl's words in an innocent diary in which she wrote about the changes taking place. My adolescent diary began to turn into a notebook of poems. The poems started to become illustrated and I would hang them on my bedroom walls to decorate it. My way of escaping from home was through reading. My mother took it upon herself to bring me the books that I asked her for. Steppenwolf was a good present. Ernesto Sábato, Alejandra Pizarnik, Giaconda Belli, Ana María Rodas, Julio Cortázar, Jaime Sabines, Elisio Subiela, Albert Camus, etc. I used to work for a newspaper, and I got to know some poets, Juan Carlos Lemus and Sergio Quemé, with whom I published for the first time, in 1997. Then I did a poetry workshop with Bolo Flores (Marco Antonio Flores) and there I lost my fear. Several months went by, then a couple of years, and I began working in an advertising agency and I got to know my friends who would introduce me to the world of art. Jessica Lagunas and María Adela Díaz, both designers and artists. I am not an artist; I write poetry and some short stories. They invited me to participate in an artistic event, gave me books, and I got to know artists. Ana Mendieta, Gina Pane, Burden, etc. etc. etc. I suppose I found myself a crossroads. I had desire. I had things to say. I had ideas and I had the body with which to express these. I did my first performance in 1999, which was a type of poem in graphic form. El dolor en un pañuelo (Pain in a Handkerchief). That was followed by El cielo llora tanto que debería ser mujer (The Sky Weeps so Much that it Should be a Woman), and then came the performance Lo voy a gritar al viento (I’m Going to Shout it to the Wind), where, in fact, I read poems that the public cannot hear. Gradually, the paths separated: I carried on working as an artist. I left advertising and the job of sitting down and thinking up my own projects became part of my daily routine. Poetry is still with me. Generally, when I plot out my works I do so via poetic texts. Poetry continues to permeate my life and my (artistic?) production.
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- Publisher: Boydell & BrewerPrint publication year: 2023