DREAMS. Gino Germani in the magazine Idilio with photomontages of Grete Stern

Language: Spanish

Publisher House: Caja Negra

Art Book

Collection: Numancia

Edited and Foreword by Syd Krochmalny and Marina Mariasch

ISBN: 978-987-1622-57-3

Pages: 232

September 2017

In the cultural history of Argentina, Gino Germani is widely recognized for his role as manager in the formation of scientific sociology and for his hypotheses about the meaning of Peronism. But among all the facets that make up his canonical figure, very little attention has been paid to the curious sentimental office he developed with the German photographer Grete Stern in the magazine Idilio between 1948 and 1951.

Idilio was a youthful, feminine and popular publication, first appeared in the Peronist government. Among Germans and Stern, a series entitled "Psychoanalysis Will Help You," a confessional reverse that overlapped the psychic cost paid by readers subject to model that propitiated the magazine. Women from the popular sectors and the middle classes were invited to send the stories of their dreams, which exuded a dystopian air examined through two novel procedures in the cultural context of Buenos Aires: the psychoanalytic interpretation in the texts of Germani, and the visual interpretation which Stern made of dreams through the technique of photomontage, a veritable language of protest driven by Dadaist circles thanks to its capacity to deconstruct the conventions of the gaze.

This volume brings together the interventions of Germani in Idilio, accompanied by a selection of photomontages of Stern and some facsimile versions of the pages of the magazine. When Germani's work is studied, these texts are often ignored or read as a mischievous anecdote, as a play little serious within the path of the sociologist. Far from this, this catalog of feminine privacies designed by Germani constitutes a preliminary chapter of the incorporation of Freudism to the general culture and a laboratory of anticipation of the strategies of creation of the conceptual art and the art of the means.


Language: Spanish

Poetry Book.

Publisher House: Pánico el Pánico

Pages: 78

April 2017

"In a post-patriarchal and creative economy, the weak man has no fixed values. Their adaptation to the relations of production is changing and unreliable, like the influence of the zodiacal signs. The weak man, given to successive projects with his laptop open in a bar, is always at the leap of possibilities: a scholarship in another continent, a new work group, a temporary tenant, an exchange student who appeared in the chat. "No one can plead his own awkwardness," said the Roman patriarchs; the weak man does not defend himself by saying that things are not as before. If work absorbs words and consumes the whole of life, who speaks of love, it simulates; who argues principles, tries to persuade another. The mere idea of ​​a fixed income and the possibility of founding a marriage are lost as mirages on the horizon; the weak man continues and opens doors in the labyrinth of the productive cycle, without looking back and without recognizing himself in his words of yesterday".

Backcover by Claudio Iglesias

  Journals of Hate

Language: Spanish

Poetry Book.

Publisher House: n direcciones

Pages: 59

August 2016

For the editing of the poems that form Diarios del odio, we started with Roberto Jacoby and Syd Krochmalny from a very large mass of texts that they had produced starting from the textual park of the comments of online newspaper readers in Argentina. The whole, virtually, could be infinite, in terms of the possibility of replication of the procedure and extension to different topics associated each time to organize trans-scripts. During the editing work, however, we have been limiting the number of texts with the intention of giving the resulting publication a physiognomy close to the notion more or less crystallized today as "book of poems". It is that this material does not want to be just the document of a transtextual procedure with political and / or documentary value but also pretends to be read as "poems", putting the ear in the zone of ambiguity that the statements have, and facing us to chance more horrifying realization that pushes us to constantly question the categories and parameters with which we value art: that the language embodies and adopts rhythms that communicate it at times with the most interesting of our literature, even in the sewer of these comments. The order and selection of texts, in this sense, seek to contribute to the sensation of such a journey.

Gerardo Jorge, Editor.

© 2017 by SK

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