Landscape and sublime in the poetry of Marcos Siscar

• Autor(a) principal: Lemos, Masé
• Data de Publicação: 2012
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: letrônica
• Texto Completo: https://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10682

Lygia Clark, in the early sixties, conceived the works entitled Poetic Shelter and O in is the outside, where "it allows to glimpse its environmental notion and the problematic of the inside / outside, interiority / exteriority of the subject." 2 I believe these notions are Fundamental to think about the landscape in contemporary art. Landscape as a construction of a space-time realized in the interweaving of the inside and the outside, without there being, transference of the subject in the object or vice versa, establishing the double articulation of subject as agent / patient. Nelson Brissac Peixoto in his book "Urban Landscapes" develops the notion of landscape to think contemporary art from the notion of an extended field that "poses the question of location, of the relation of the work to the environment" 3 as opposed to the work of art Modernist "taken as an object closed in on itself and isolated in space". For Brissac Peixoto, the "grid and the clouds - central categories of the critique of contemporary art - establish this broader cut in which the work is inscribed: the landscape." And from his reading of Merleau-Ponty suggests the complexity of the relationship Interior / exterior, that is, that "he who sees is not foreign to the world he looks at. It must be seen from the outside, installed in the midst of things, astonished in the act of considering them from a certain place. "4 The landscape is thus proposed as a way of experiencing space / nature, from an interior that becomes exterior, Landscape as environment, or taking the words of Lygia Clark, as "a poetic shelter where the dwelling is the equivalent of communicating." Dwell to communicate, to establish community - art if you want construction of this common space, a fold that Opens up to a radical otherness. It is in this sense that we intend to think in this brief essay the poetry of Marcos Siscar, a rigorous poet who constructs poems as sculptures, as poetic shelters, as a way of inhabiting the earth. On these issues, Siscar maintains an important dialogue with the French poet and philosopher, Michel Deguy, and it is above all this dialogue that I will try to trace here some relations with the poetry of Siscar.