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El Surrealismo En El Perú Y Los Proyectos De Renovación

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El Surrealismo En El Perú Y Los Proyectos De Renovación UNIVERSITY OF CALIFORNIA Los Angeles Transformar el mundo, cambiar la vida: El surrealismo en el Perú y los proyectos de renovación sociocultural de José Carlos Mariátegui, Xavier Abril y César Moro A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Rafael Alfredo Ramírez Mendoza 2018 © Copyright by Rafael Alfredo Ramírez Mendoza 2018 ABSTRACT OF THE DISSERTATION Transformar el mundo, cambiar la vida: El surrealismo en el Perú y los proyectos de renovación sociocultural de José Carlos Mariátegui, Xavier Abril y César Moro by Rafael Alfredo Ramírez Mendoza Doctor in Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2018 Professor Efraín Kristal, Chair Surrealism is central to understanding twentieth century Peruvian cultural production, yet some of its complexities remain under-studied, including the impact of the political demands that both inspired and inhibited its proponents, or how they championed surrealism as a fundamental tool for modernizing not only Peruvian literature, but also visual art and even society. Based on new interpretations and fresh archival work, this dissertation explores the specific ways in which José Carlos Mariátegui, Xavier Abril, and César Moro engaged with the surrealist spirit, as André Breton articulated it: “‘Transform the world,’ said Marx; ‘change life,’ said Rimbaud: for us these two slogans are one and the same.” ii Chapter 1 focuses on Mariátegui, Peru’s most important Marxist thinker, by exploring the unresolved tension between his two distinct approaches to surrealism. In the context of the communist demand for a socialist realist literature, at times Mariátegui perceived surrealist endeavors as evidence of the cultural confusion that announced a revolutionary period. Yet Mariátegui concurrently backed surrealism from another perspective that configured his aesthetic heterodoxy: in his essays and his only novel, La novela y la vida. Siegfried y el profesor Canella (which has received scant critical attention), he viewed surrealism as a form of liberation via fantasy, the unconscious, and love, all valid means for renovating literature and connecting it with real life. Chapter 2 explores how Abril initially used surrealism as an eclectic label that appropriated the repertoire of earlier vanguard movements to position himself and other young Peruvian poets as legitimate, up-to-date voices in both local and transatlantic settings. I also explain how Abril’s initial attempt to renew Peruvian literature was realized and expanded to the social realm in his short novel El autómata, where he finally achieved a mature surrealist imagery. In this text, from which I present two unpublished fragments, Abril employs surrealism to convince the reader that madness is the path to overcoming the castrating demands of bourgeois society, and subsequently create what he calls a “surrealist class” and a “surrealist culture.” Chapter 3 is devoted to Moro, one of the most representative surrealist poets in Latin America, and the most important in Peru. Focusing on his collages and paintings, this chapter shows the centrality of Moro’s work as a visual artist to his brand of surrealism. I demonstrate that one of the most powerful surrealist statements in Peru is Moro’s attempt to contentiously persuade his spectators through visual means that poetry and dream are the ways to overcome antiquated artistic expectations and obtain “clairvoyance”—the capacity to appreciate and engage with the new expressive language of contemporary times: surrealism. iii The dissertation of Rafael Alfredo Ramírez Mendoza is approved. Verónica Cortínez Roberta Johnson Maarten H. van Delden Efraín Kristal, Committee Chair University of California, Los Angeles 2018 iv ÍNDICE Introducción 1 Un marco de lectura para entender el surrealismo en el Perú 7 Antes de empezar, una precisión 14 Capítulo 1: Vanguardias decadentes, surrealismo revolucionario: ideología y estética en José Carlos Mariátegui 21 1.1. El joven Mariátegui y la creación literaria 24 1.2. Mariátegui en las polémicas de la década del veinte: vanguardia, indigenismo y revolución 30 1.3. Mariátegui y el surrealismo revolucionario: (preludio de y) alternativa frente a la nueva narrativa realista 49 1.4. Inverosimilitud, loco amor e inconsciente surrealista en La novela y la vida. Siegfried y el profesor Canella 61 1.5. Conclusiones sobre la nouvelle surrealista de Mariátegui 76 Capítulo 2: El surrealismo de Xavier Abril: Apropiación ecléctica de la modernidad y la locura como camino hacia una “cultura surrealista” 81 2.1. Los primeros poemas surrealistas 82 2.2. La recepción de la exposición: primitivismo y modernidad 85 2.3. Los dibujos de Devéscovi 93 2.4. Abril y el surrealismo 101 2.5. Un manifiesto ecléctico 119 2.6. Hollywood (1931), geografía urbana, sexo y surrealismo 122 v 2.7. Pequeño crimen burgués (1929-1931) o El autómata 143 Capítulo 3: César Moro, el surrealismo y la renovación de las artes visuales peruanas 158 3.1. El surrealismo literario en los linderos de la vanguardia local (1926-1934) 158 3.2. Eguren, precursor de la plástica surrealista en el Perú 168 3.3. César Moro en París 178 3.4. Moro, Joan Miró y el camino hacia el surrealismo 190 3.5. Moro entre los surrealistas y de regreso en Lima 198 3.6. César Moro, el indigenismo, los collages 206 3.7. Judith Westphalen, Moro y la pintura automática 224 Conclusiones 235 Espacio, Szyszlo y la nueva modernidad de lo abstracto 236 Szyszlo, ¿surrealista? 240 La última discusión: 1954 247 Comentario final 252 Apéndice 255 Bibliografía 258 vi LISTA DE FIGURAS Figura 1. Lista de las obras del catálogo de la exposición de dibujos de Juan Devéscovi y poemas de Xavier Abril en la Association Paris-Amérique Latine, 7 al 12 de noviembre de 1927. Imagen tomada del catálogo completo en el archivo virtual “Documents of 20th Century Latin American and Latino Art”, del International Center for the Arts of the Americas at the Museum of Fine Arts, Houston: http://icaadocs.mfah.org/icaadocs/ELARCHIVO/RegistroCompleto/tabid/99/doc/1151314/langua ge/es-MX/Default.aspx Figura 2. L’éclat de rire (La carcajada) de Juan Devéscovi. Fue el dibujo 8 del catálogo de la exposición de 1927 en París. La imagen viene del archivo virtual “Documents of 20th Century Latin American and Latino Art”, del International Center for the Arts of the Americas at the Museum of Fine Arts, Houston: http://icaadocs.mfah.org/icaadocs/ELARCHIVO/RegistroCompleto/tabid/99/doc/1151314/langua ge/es-MX/Default.aspx Figura 3. L’Amauta (El Amauta) de Juan Devéscovi. Fue el dibujo 11 del catálogo de la exposición de 1927 en París. La imagen viene del archivo virtual “Documents of 20th Century Latin American and Latino Art”, del International Center for the Arts of the Americas at the Museum of Fine Arts, Houston: http://icaadocs.mfah.org/icaadocs/ELARCHIVO/RegistroCompleto/tabid/99/doc/1151314/langua ge/es-MX/Default.aspx Figura 4. Dibujo de Juan Devéscovi. Apareció en Amauta 17 (1928): 58, de donde se ha tomado. Figura 5. Sommeil de Juan Devéscovi. Reproducido como “Sueño” en Amauta 17 (1928): 72, de donde se ha tomado. Figura 6. Le Rire (La risa) de Juan Devéscovi. Fue el dibujo 14 de la exposición. Fue reproducido como “Dibujo” en Amauta 18 (1928): 52, de donde se ha tomado. Figura 7. Xavier Abril. Naturaleza viva de Juan Devéscovi. Firmado en París, 1927, apareció en La Gaceta Literaria 27 (1 feb. 1928, 2), de donde se ha tomado. Figura 8. Retrato de Armando Bazán de Juan Devéscovi. 1927. Apareció reproducido en Amauta 7 (marzo de 1927): 16. Tomado de la página web del Archivo José Carlos Mariátegui: http://archivo.mariategui.org/index.php/caricatura-de-armando-bazan Figura 9. Juan Devéscovi. Sin título. 1927. Cuadro cubista reproducido en Amauta 18 (oct. 1928): 54, de donde ha sido tomado. Figura 10. Juan Devéscovi. Sin título. 1927. Cuadro cubista reproducido en Amauta 18 (oct. 1928): 54, de donde se ha tomado. Figura 11. Naturaleza muerta de Juan Devéscovi. 1927. Témpera y tinta sobre papel, 25.4x25.5cm. Imagen en la colección virtual del Museo de Arte de Lima: http://190.12.86.155/coleccionvirtual/view/objects/asitem/People@1551/1?t:state:flow=f51dc2b4 -6401-4937-9a70-c41f0e25c318 vii Figura 12. Juan Devéscovi. Sin título. 1927. Témpera y tinta sobre papel, 25.8x25.6 cm. Imagen en la colección virtual del Museo de Arte de Lima: http://190.12.86.155/coleccionvirtual/view/objects/asitem/People@1551/2?t:state:flow=f51dc2b4 -6401-4937-9a70-c41f0e25c318 Figura 13. Naturaleza muerta de Juan Devéscovi. 1927. Témpera y tinta sobre papel, 25x25cm. Imagen en la colección virtual del Museo de Arte de Lima: http://190.12.86.155/coleccionvirtual/view/objects/asitem/People@1551/3?t:state:flow=f51dc2b4 -6401-4937-9a70-c41f0e25c318 Figura 14. Portada del número 10 de la revista Amauta (dic. 1927). Figura 15. Paysage de Germaine Krull. Fotografía reproducida en Bifur (25 jul. 1929), de donde se ha tomado. Figura 16. Peinture par Giorgio de Chririco. Pintura de Giorgio de Chiricio reproducida en Bifur (25 jul. 1929), de donde se ha tomado. Figura 17. Anatomie féminine de Sasha Stone. Fotografía reproducida en Bifur (25 jul. 1929), de donde se ha tomado. Figura 18. Peinture par André Masson. Pintura surrealista de André Masson reproducida en Bifur (25 jul. 1929), de donde se ha tomado. Figura 19. Extrait du film ‘Un chien andalou’ de Luis Buñuel. Fotograma de Un chien andalou de Luis Buñuel reproducido en Bifur (25 jul. 1929), de donde se ha tomado. Figura 20. Majakowsky dans Celui qui n’est pas né pour l’argent. Imagen de la película Celui qui n’est pas né pour l’argent reproducida en el número 1 de la revista Le surréalisme au service de la révolution (jul.
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