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Nuestra misión

Increase visibility of historic and contemporary art in Montevideo.

Exhibición William S. Burroughs – The Seven Deadly Sins

William S. Burroughs holding a 12 gauge shotgun in front of the panels

William S. Burroughs (1914 – 1997) was a novelist, poet, and American essayist and a key figure in the "Beat Generation". It is considered one of the artists' most incisive from the political point of view, a huge cultural influence and the most innovative of the 20th century ". He wrote 18 novels and "new novels", six collections of short stories and four collections of essays, also working on several recordings with performers and musicians. He made several appearances in films, was a commentator on the art world and was himself the author of famous woodblock prints folio entitled Seven Deadly Sins (The Seven Deadly Sins), composed of his own prose-poetry and original wood engravings. Thus Burroughs participated in the grand tradition of visual and literary livres d'artistes to which contributed many great modern artists such as Picasso, Dali, Miro and Chagall over their lives.

In 1983 Burroughs fue elegido para integrar la American Academy and Institute of Arts and Letters y en 1984 was awarded the Order of Arts and Letters in France. Jack Kerouac, Burroughs called "the greatest satirist since Jonathan Swift", reputation owes its "subversion of life" to the moral systems, political and economic aspects of modern American society, articulated with a cynical black humor.

The Burroughs wit it apart of other causes belonging to the Beat movement celebrated. If we consider music Dylan, Ginsberg in poetry, a Hunter S. Thompson and Kerouac in journalism in the misfortunes, we perceive in each of them a large dose of "Spirit Romance". These great artists, alienated from their society torn apart by racism and the Vietnam War, expressed each of them, of one or another form, algo que podemos denominar ferviente o sublime. Estos ritmos incorporaban el ardor del “Héroe Romántico”, exile in art, natural law and truth, but alienated from society by the "heart". However, Burroughs parece haber sido un rebelde mental.

And while Dylan-as well as any of them- was clearly able to avert the cynicism and irony, Unlike Burroughs, como una especie de profeta del Viejo Testamento, classicism which is similar to Napoleon: brief, unequivocal, racy and wild. Mientras que el Nuevo Testamento nos presenta la figura de Jesús – el principal Héroe Romántico del amor; is in the Old Testament where we find the strong consensus of "the wrath against sinners". Although Burroughs was a profound humanist, tone and critical view throughout his life closer to the figure of Jehovah to Christ.

Viewed this way, no es sorprendente que Burroughs haya elegido ilustrar y escribir acerca de una de las temáticas del judeocristianismo que genera mayor desasosiego – los “Siete Pecados Capitales”. Himself a troubled addict / genius / accidental murderer, Burroughs, as Jehovah, focuses on what not to do. The guilt that results from all of us have committed some, many or all of the Seven Deadly Sins, aligns us with the stubborn refusal to deviate from Burroughs "confession" that he and society-and therefore we- somos corruptos. A diferencia de Dylan, Burroughs no es conocido por sugerir un camino alternativo hacia la salvación. Even when faced with their own "gay hell", Burroughs rises from denial to self-realization sordid and entrenched. The darkness of Burroughs is so irreproachable as the Torah, yet he, like this- raramente propone una solución ligera.

In fact, Seven Deadly Sins of Burroughs are subtly represented in certain panels, but are above all concise and unavoidable. Mientras que el Romántico cree en mejorar para algún día “erase the sin”, The Classicist cree in law and order as ways to discipline the human perversity that will accompany the species forever.

Viewed this way, Burroughs se transforma en Job: is willing to accept the destiny of man and understands that he's shared his punishment, but wonders why the surrounding society is worse; like Job begs the Lord to unleash their anger against those individuals (and by extension, societies) that they are certainly worse than it. For Job, "Worst" = “Gentiles "evil and Jews leavers, while for Burroughs, “worse” = The White House, Congress, Corporate America, etc..

This legendary paradigm, in which the true poet accepts his own shortcomings, aún en papel a la vez también obliga al poeta a estar irritado con el mundo que le rodea: a world unable to progress through their confessions (generational) to virtue and improvement in the long run. The poet lives a single life, so this may end more courageous than in her previous sins caused. Sin embargo la sociedad debe sufrir nuevas generaciones, again and again, so the wisdom of parents can not be inherited, sino solo re aprendida por herederos proclives al pecado. For this reason, the poet often speaks with the voice of someone "better than", but this is just the tone of an individual critic who is aware of Ideal after years of sin and error, mientras que la sociedad habla con falsedad, as if currently taking the road to perfection with a view to a higher final, so we can all just as atestiguar cierto. Even referring to the "natives", original tribes and harmless survivors, as examples of innocent individuals without the masks of civilization. But Burroughs remind us that war can not divine tribal.

 

¿Were the sins of my youth? What have I done to You, you do that everything that terrifies me, anything that scares me, a reality? Let the wicked prosper - let your kids like deer Frolic, while my loves are dead or dying, or not even approach me.

“Job’s Sad Song” Joni Mitchell,
Turbulent Indigo

 

 

Limited Edition Prints – “The Seven Deadly Sins” de William S. Burroughs

 

Información de la Exhibición

Opening: Martes 6 de Marzo, 2012
Hours: Martes a Jueves, 10-20 hs., Viernes a Domingo 10-17 hs.
The Bohemian Gallery & Museum of Contemporary Art – Lieja 6416 &. Divina Comedia

Ver William S. Burroughs

 

One Comment

  1. BURROUGHS «
    18 March, 2012

    [...] the 1980s and 1990s, and Burroughsshotgun art of 1986/87 going on display at Uruguay’s Bohemian Gallery & Museum of Contemporary Art, there’s always room for a retrospective. Blasting cans of spray paint in front of canvases [...]

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