Paololuca Barbieri Marchi
Gelitin: Wolfgang, Florian, Ali, Tobias
Poops + P-Touch
dedicated to Graciany Miranda Archilla*** (1908-1993) and the Atalayistas
"The cave exhibition pollutes nature directly with art. Cave men ruined pristine underground natural environments with absurd and poorly drawn images from their psychological landscape of false gods and hungry bellies. Perhaps nothing has changed. The cave exhibition hits the red reset button on three dimensional space, and reamends the rights of artists to make mistakes, currently, on the same order of magnitude as cave men: forever. This exhibition is about the future of cave art, not the past. Cave art will become a trend, and the best artists will rush to show in caves. This is only possible because of the internet, which will allow far flung caves (and caverns) to reach the market. Shipping will be done by hovercraft and transporter beams. Artists will move away from cities in droves, massing at the caves with the most action and the best drinks."
*Negras, Piedras. When Body Art Becomes Contemporary: The Influence of Psilocybin Infused Barillitos Rum on the Early 21st Century Avant Garde in Barceloneta. New York: Ramiken Crucible, 2015.
"I believe that it was a conflictual scenario of social divisions, perceptively prefigured by Max Raphael, that was the dynamic behind the efflorescence of Upper Palaeolithic art. When Laming-Emperaire and Leroi-Gourhan developed the mythogram component of Raphael's ideas at the expense of his social emphasis, they led Upper Palaeolithic art research down a functionalist avenue, one that emphasizes the 'beneficial' effects of image-making by claiming that images facilitated extended inter-group co-operation, intra-group cohesion, information-exchange, the resolution of binary oppositions, and so forth. The reality was, I argue, more complex and much less comfortable. It was not 'beauty' or an 'aesthetic sense' that was burgeoning at the beginning of the Upper Palaeolithic but rather social discrimination. Art and ritual may well contribute to social cohesion, but they do so by marking off groups from other groups and thus creating the potential for social tensions. It was not co-operation but social competition and tension that triggered an ever-widening spiral of social, political, and technological change that continued long after the last Neanderthal had died, indeed throughout human history."
**from The Mind in the Cave, by David Lewis-Williams (2002), pages 95-96
"Graciany Miranda Archilla was a poet, journalist and essayist, and co-founder of an important literary movement. He was born in Morovis, Puerto Rico on June 2, 1908, the sixth of nine children of Francisco Miranda, a businessman, and his wife Celsa Archilla, a writer of poetry and fiction. Miranda Archilla developed a talent for writing and an interest in literature as a young boy. When he was twenty years old, he moved to San Juan to be near the Ateneo Puertorriqueño, where poets and writers gathered, and to hone his craft as a poet. In 1928, he joined fellow poets Clemente Soto Vélez, Alfredo Margenat, and Fernando González Alberty to found a new poetic movement called Atalaya de los dioses. Atalayismo, as it came to be known, became one of the most debated of the vanguard movements and also proved to be one of the most prolific. The Grupo Atalaya of which Miranda Archilla formed a part were deliberately outrageous young men sporting long hair and wild clothing and adopting strange pseudonyms. Their intent was to revolutionize Puerto Rican poetry by breaking with decades of romanticism both in content and form. Theirs was to be a different kind of lyric poetry using new themes, imagery, and rhythms. The Grupo Atalaya expressed a need for a more socially conscious and politicized poetry. During the 1930s, under the influence of the charismatic leader of the Nationalist Party, Pedro Albizu Campos, the Atalayistas' writings began to manifest nationalistic tendencies and to incorporate the Nationalists' ideology. As Puerto Rico's political climate became increasingly repressive, Miranda Archilla migrated to New York City with his wife in search of better job opportunities as well as a more open political environment. Once in the city, he began working as the director of the Sunday section ofel diario/La Prens, the principal Spanish language paper in New York. Using the pseudonym Oscar Blanco, Miranda Archilla wrote numerous articles for Vanguardia Betances where he reaffirmed his strong support for Puerto Rican independence from the United States."
***from The Graciany Miranda Archilla Papers, Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños, Hunter College, CUNY
Poops and Jarrett Gregory