The daily magic of Joan Brossa
The fascinating imagination of Joan Brossa keep spinning. The awesome review I would curate Enrique Juncosa at
RIGHT allows us to verify that this poet was singularly plural and that his ‘total’ condition led him to delve into cinema, theater, actions, magic and objects, making his peculiar sense of humor visible at all times. admirer of Lorca and close to the metaphorical passion of Gomez de la Serna, began at the forefront in dialogue with JV Foix, approaching in his forties to I look, of which he said that “dealing with him was a party.”
In a photo published numerous times we see him ‘eating’ some cards from a deck, perhaps suggesting that
chance has become edible. This anomalous poet, founder of the magazine ‘Algol’ (1947) and fundamental activist in the vicissitudes of Give to the Set (1947), closely linked to Caps, was carried away by the taste of the surprising, assuming chance, enjoying the transformism that, for him, represented perfection Frégoli.
According Pere Gimferrer, is the field of the magical vision of Nature where the three most characteristic obsessions of Brossian poetry are developed: animist personification, repetition and the interrelation of the natural world and that of objects. One of the decisive books by this creator is the one with the curious title ‘Joan Brossa made me’ (1951), with a prologue by Cabral de Melo, who underlines that in those poems “the real was sung”, moving away from what he qualifies as “paper-mache magic”.
From the fascinating notebooks of visual poetry that he made in 1959 to the actions and theatrical works such as ‘La suite bufa’ (1966), is consolidating his universe of subtle movement, theatrical seduction and, however, family closeness.
In a 1992 interview, Brossa defines himself as a poet: «I’m just a poet. I just want to continue being a poet. The poet is an artist of language. It has different languages. But everything comes from the same underground. He clarifies that sometimes he changes the code, but that he always remains in the field of poetry. «What I don’t like -he adds- is that they call me an artist, because it’s something that sounds like a commercial».
Ultimately, Brossa’s working method is life: he contemplates and collects what happens, modifies objects, transcribes conversations, unleash your sense of humor in which the common is arranged in an illogical key. Between poetic sarcasm and haiku, it offers a fragment of reality that, transformed into verses, acquires a fun and disturbing tone. It is also true that in his writing or his objects unforeseen things can happen, serious objections to the codes established in a crazy time.
It took four decades for his works to begin to have a presence in the art system. At the end of the eighties, he was finally able to produce numerous ‘object poems’ such as ‘Cinema’ (1988), in which a piece of celluloid and metal glasses without crystals are intertwined, or the ‘spy shoes’ (1991) with disturbing eyes inside.
In 1988 he received the City of Barcelona poetry prize, exhibited at the gallery Mosel & Chekhov in Munich and in La Maquina Española in Madrid and, in 1991, Victoria Combalía will curate an impressive retrospective at the
Reina Sofia Museum. In 1992,
Michael Mark, which now actively participates in this event, organizes an itinerant one for him, will hold an exhibition at his gallery in Zaragoza and will present his pieces in Basel. It will open its headquarters in Barcelona in 1998 with the amusing ‘sites’ of this poet, who was capable of letting the rain compose poems.
Brossa’s insolent poetry never ceases to amaze, his findings (the telephone on the dice, the earphones with earrings, the locked deck of cards, the eye as a bottle cap) are memorable. Now we can once again enjoy the vision of the chair sectioned in two (‘David’, 1997) by a tiny handsaw, the cage with a fish tank (‘Interior in the interior’, 1998), the Charon’s boat on confetti (1998) or the magnificent ‘deceive’ (1999). Brossa’s surrealist humor allowed him to shuffle the cards in many ways. Its visual luxury left its mark. The daily magic of Brossa seduces us.