Pedro Gandía Literature. Was born on August 4, 1953, in Minglanilla, Cuenca, Spain, where he lived until he was nine years old. He studied secondary school in Cuenca, a city that marked him by awakening in him, with its Museum of Abstract Art, a taste for art, to which his friendship with Fernando Zóbel contributed. Also for Literature, pleasure that he discovered through his teacher, and also friend, Vicente Tusón. In 1972 he moved to Valencia and enrolled in the Superior Conservatory of Music and in the School of Arts and Crafts, disciplines that he later left for the studies of Philology. His literary education was marked by his stays in Paris and its museums between 1974 and 1976, as well as by his visits to Rome, Florence and London, where his pleasure in artistic creation was revived. He has been a painter (1982-1992), sculptor (1996-1999), professor of Literature, art dealer and director of the “Jade” collections, of narrative and poetry, of the Institute of Modernist Studies. Since 2016, he has re-taken the brushes to paint, on some of his old canvases, his series “Elegías”.
Pedro Gandía Literature. If poetry was painting for Simonides of Ceos, and poetry was a talking image, it is fascinating to study the painted images (mute verses) of the poet-painter. The case is not uncommon; all knowledge tends by synthesis towards its visualization, and there are many splendid examples throughout history: Salvador Rosa, Goethe, García Lorca, William Blake, Moreno Villa …
Being the image, by definition, a set of forms and figures endowed with unity and signification, Pedro Gandía composes the images of his abstraction harmonizing forms and figures that could be said belonging to the color itself: each color seems to have its own body, skin and movement, as something inseparable from their pigmented reality.
Pedro Gandía Literature. The colors weigh, glide, embrace or become almost weightless waving its profile, as a sendal, to the impulse of an even lighter pigment; they interpret a slow dance, a movement always related to the musical that remembers “stagings” of settecentists’ operas (perhaps Bibiena?); studies for a parsimonious and cyclopean choreography.
The poet directs here the splendid music of Pedro Gandía’s verses.
Théophile Gautier (1812-1872), el “perfecto mago de las Letras Francesas”, como lo definiera Baudelaire en la dedicatoria de su célebre poemario, pintor de palabras y maestro de la descripción que va más allá de lo físico, uno de los más
Se presentan aquí las Poesías completas de Arthur Rimbaud, quien escribió la totalidad de su obra en verso antes de cumplir los 19 años, para cambiar su vida, abandonar la poesía y convertirse en «l’homme aux semelles de vent» (como
Having said goodbye to poetry in 2001, with the verses that close Estrella de Oro, written with uncharacterised characters and devoid of sound and of meaning —‘wordless thinking’, as Picabia would say―, the author returns to it ten years later,
Empecé a escribir Cielos líquidos en 1995. Quise imponerme un modo distinto de ver; de mirar, de sentir lo poético. Me resultaba tan tedioso como la vida, además de absurdo, tener que matar el precioso tiempo que nos queda con
Tiene el lector en sus manos los poemas en prosa más significativos de Paul Valéry, su último estado de invención en poesía: “El Ángel”, “Ágata” y el poemario Historias Rotas. Son fragmentos, instantes de invención; en su mayoría, textos inacabados.
Since he was nineteen years old, Sebastian, a self-exiled Spanish photographer in London, has been descending on time to Morocco, every three years, dragged by a strange ritual of purification and passage that he cannot quite decipher. Now, about to
El poeta, narrador y ensayista, Tahar Ben Jelloun (Fez, 1944), afincado en París desde finales de 1971, que se hizo célebre por El niño de arena (1985) y su continuación, La noche sagrada (1987), novela galardonada con el Premio Goncourt,
Tras una dramática crisis interior, una noche tempestuosa de primeros de octubre de 1892 en Génova, el joven Paul Valéry (Sète 1841 – París1945), en vísperas de cumplir 21 años, renunciará a la literatura para consagrarse a la vida del
The Golden Star, as an allegorical landscape, marks and illuminates a new way of searching for the perfect ―the circle and gold, that closest to perfection―. The syncretism of cultures and languages ―as opposed to the Language, fascist in itself,
«INICIADO”, “Vestal”, “Hijo del Fuego”. Así gustaba llamarse Gérard de Nerval (París, 1808-1855), el poeta más puro y moderno del Romanticismo francés, precursor del Simbolismo junto con Baudelaire y el antecesor más profundo del Surrealismo, siempre adelantado a Breton.