Expresiones intermediales de la memoria en la obra de Jorge Eduardo Eielson.

Abstract

Jorge Eduardo Eielson (1924- 2006), poeta y artista plástico, deja su nativa Lima a la edad de 24 años. Como varios de sus contemporáneos y con la ayuda de una beca de estudios en Francia, abandona su país para escapar de la inestabilidad política y acercarse a las voces poéticas que resonaban en sus lecturas de joven artista. Contrario a sus compañeros de generación, Eielson no regresó al Perú, sino que estableció su vida personal y profesional en el viejo continente, especialmente en Italia. Este exilio voluntario no implicó un abandono del tema nacional, sino que posibilitó un acercamiento tangencial y heterogéneo a la idea de patria, infancia y memoria. Eielson exploró su identidad peruana a través de los vestigios arqueológicos, materiales, literarios y emocionales que estaban a su alcance del otro lado del océano, de manera que Perú vuelve siempre en su obra, transformado en costa limeña, en tejido indígena o en una casa familiar. En consecuencia, el artículo buscará reconstruir algunas líneas de lectura en el universo intermedial de la obra eielsoniana a partir de estos motivos que se concretan en imágenes visuales y poéticas transversales en su obra.

Jorge Eduardo Eielson (1924- 2006), Peruvian poet and plastic artist, left Lima when he was 24 years old. Following several of his contemporaries and with the help of a scholarship to study in France, he left his country to take distance from the political instability and to get closer to the poetical voices that resonated in his readings of young poet. Contrary to other writers of his generation, Eielson didn’t return to Peru and he stablished his personal and professional life in the old continent, especially in Italy where he lived for many decades and where he died at 82 years old. This voluntary exile didn’t imply the abandonment of national themes, but rather a tangential and heterogeneous approach to the idea of motherland, childhood and memory. Eielson explored his Peruvian identity through the archeological, material, literary and emotional remains that were at his reach at the other side of the ocean, so that Peru always comes back in his work, transformed in the city coast, in an indigenous weave or in a family house. In consequence, this article aims to reconstruct some common threads of interpretation in the intermedial universe of the eielsonian work, based on this motives that are materialized in visual and poetic images that run across his work.