#memorabilia del afecto y de mis combinaciones infantiles

[proustian-dream]

Ensoñaciones líricas sobre Joseph Cornell:

-Cajas poéticas: Homage to the Romantic Ballet, 1942; Nouveaux Contes de Fées (New Fairy Tales), 1948; Untitled (Butterfly Habitat), c. 1940. On a moonlight night in the winter of 1835 the carriage of Marie Taglioni was halted by a Russian highwayman, and that ethereal creature commanded to dance for this audience of one upon a panther’s skin spread over the snow beneath the stars. From this actuality arose the legend that, to keep alive the memory of this adventure so precious to her, Taglioni formed the habit of placing a piece of ice in her jewel casket or dressing table drawer, where melting among the sparkling stones, there was evoked a hint of the starlit heavens over the ice-covered landscape.

-Apariciones de tendajón de María Negroni (en el medio Marcel Duchamp) en Elegía Joseph Cornell. Un rosebud una frágil familia de signos un tiempo perdido en el tiempo un juguete de trapo un memento un gran pájaro sabio.

-Una definición de las cajas del propio Cornell: "Perhaps a definition of the box could be as a kind of ‘forgotten game,’ a philosophical toy of the Victorian era, with poetic or magical ‘moving parts,’ … that golden age of the toy alone should justify the ‘box’s’ existence” (Cornell Papers, The Art Institute of Chicago)

-Stills de la película-collage Rose Hobart (1936). Eclipse, azul de eternidad, corte de mujer. Dice P. Adams Sitney sobre el cine de Cornell: "Two principles of cinema emerge: that facial expression and gesture are its essential language and, more crucially, that the coming of sound has destroyed the immanent spiritual music of films. In this difficult time for cinema — the era of the sound film — the “poetic and evocative language” can appear only in “evanescent fragments” and their “realms of wonder” are necessarily mediated by the memory of silent films." (Visionary Film: The American Avant-Garde, 1943–2000)