María Amelia Arancet Ruda

Dos mundos creativos litoraleños. Kiwi y Beatriz Vallejos: palabras moldeadas e iluminadas a mano

Introduction

Dos mundos creativos litoraleños. Kiwi y beatriz vallejos: palabras moldeadas e iluminadas a mano. Explora la obra de los poetas y artistas litoraleños Kiwi y Beatriz Vallejos. Este estudio posiciona a Kiwi en la literatura argentina, analizando su producción y la influencia del agua.

Abstract

Este trabajo busca ayudar a posicionar con mayor justicia al poeta y artista visual Héctor Rolando Rodríguez, “Kiwi” en el marco de las literaturas de la Argentina. Para hacerlo sistematizamos datos biográficos, reunimos el corpus de su obra, investigamos cuánto se lo valora hoy y cuáles fueron los modos de producción y de circulación de este outsider. Juzgamos que dentro del campo literario se ubica en un aledaño que denominamos “violencia de la frontera”, junto con Jacobo Fijman, Miguel Ángel Bustos, Héctor Viel Temperley, entre otros. Kiwi fue amigo y vecino de otra poeta y artista visual litoraleña y santafesina, Beatriz Vallejos, de quienes aquí consideramos sus poemarios Poemas (1986) y Ánfora de Kiwi (1985), respectivamente. Sopesamos en ellos cuán rotundamente el agua influye en su producción verbal y visual. Y postulamos que sus subjetividades se definen desde la interconectividad.

Review

The article "Dos mundos creativos litoraleños. Kiwi y Beatriz Vallejos: palabras moldeadas e iluminadas a mano" proposes a timely and significant re-evaluation of two overlooked Argentine Litoral artists and poets, Héctor Rolando Rodríguez ("Kiwi") and Beatriz Vallejos. Its primary aim is to justly position Kiwi within the broader framework of Argentine literature, challenging his current peripheral status. By focusing on their intertwined lives and creative outputs, particularly their multi-modal works and regional sensibilities, the study promises to shed new light on the rich, yet often underappreciated, literary and artistic traditions of the Argentine Litoral. The methodology outlined for this study is comprehensive and rigorous. For Kiwi, the authors intend to systematize biographical data, compile a complete corpus of his work, and investigate both his contemporary reception and the unique modes of production and circulation that characterized this "outsider" artist. A particularly intriguing aspect is the theoretical framework of "violencia de la frontera" (frontier violence), which positions Kiwi alongside other significant yet marginalized figures like Jacobo Fijman and Miguel Ángel Bustos. The study extends this analysis to Beatriz Vallejos, a close contemporary, examining their respective poetry collections, *Poemas* (1986) and *Ánfora de Kiwi* (1985), with a specific focus on the profound influence of water on their verbal and visual creations, and how their subjectivities are shaped by "interconectividad." This research offers a valuable contribution to the fields of Latin American literary and art studies, particularly concerning regional and marginalized voices. By actively working to reposition Kiwi and engaging with Vallejos, the article addresses an important imbalance in the literary canon, providing a more nuanced understanding of creative production outside dominant cultural centers. The introduction of concepts like "violencia de la frontera" and the exploration of "interconectividad" as defining forces for subjectivity promise to enrich theoretical discussions around authorship, marginality, and regional identity. Overall, this appears to be a well-conceived and potentially impactful study that moves beyond mere biographical recuperation to offer fresh analytical perspectives.

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