APOGEO
Variations on Codex Berocaliensis
DOI:
https://doi.org/10.24310/Umatica.2019.v1i2.10386Keywords:
poem, Berrocal, poetry, space, sculpture, form, emptyAbstract
In February 2020 they invited me to visit Miguel Berrocal’s house, workshop and museum in Villanueva de la Algaida. I remember the magnificent decoration of the house, the emblematic building that houses the museum, the pleasant after-dinner chat with his children... But what surprised me most was the artist’s workshop. There I could immerse myself in the work of Miguel Berrocal, in his working techniques, in the concept of reproduction, in his aesthetic philosophy. There I could touch his sculptures, play with his detachable works, soak up the complex way he looked at the world. And there, in a corner near the library (where the books that Miguel Berrocal used during his lifetime are treasured, and his writings, prints and illustrations, and even a poem dedicated to one of his Meninas by Rafael Alberti), reading some texts and articles, absent from the world and in intimate dialogue with the place and the artist, I discovered his famous Codex Berrocalensis, a series of watercolours accompanied by some philosophical reflections written by his own hand. In these watercolours, these texts, a very important part of Miguel Berrocal’s aesthetic thought is synthesised. Such was the impact that his reading had on me, that for months I was ruminating on his postulates until they vanished. The result of this ultra-sensorial experience has been the writing of a series of poems in which I enter dialogue with the texts and reflections that Miguel Berrocal left in the Codex Berrocaliensis.
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Jiménez Jódar, V. A. (2018). La mujer infinita (1st ed.). Granada: Publicaciones Diputación de Granada.
Jiménez Jódar, V. A. (2020). Ciudad laberinto (1st ed.). Granada: Esdrújula
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