Imaginario caleidoscópico de Frédéric Pajak
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Fecha
2020-12-16
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Universidad Complutense de Madrid, Ediciones Complutense
Resumen
Con la creación de obras como La inmensa soledad y, ante todo, el Manifiesto incierto –obra en formación cuyo cierre está previsto con la esperable publicación, en 2020, del noveno volumen de la serie–, el autor franco-suizo Frédéric Pajak explora un nuevo modo de narrar denominado por la crítica como Ensayo gráfico. Este modelo expresivo se escapa, en verdad, a toda definición formal pues viene determinado por las libres necesidades del material elaborado. Las siguientes páginas abordarán la obra de Pajak desde la creencia de que su modelo narrativo se corresponde enteramente con las premisas de la estética contemporánea.
With works as L’immense solitude and, mainly, the Manifeste incertain –work in progress whose ending is expected with the publishing of the ninth volume in 2020–, the french-swiss author Frédéric Pajak explores a new way of narrating, the –so called by critics– Graphic Essay. This expressive model eludes all formal definition according to its own needs. The next pages study Pajak’s work from the conviction that his narrative model is absolutely in line with the premises of the contemporary aesthetics.
With works as L’immense solitude and, mainly, the Manifeste incertain –work in progress whose ending is expected with the publishing of the ninth volume in 2020–, the french-swiss author Frédéric Pajak explores a new way of narrating, the –so called by critics– Graphic Essay. This expressive model eludes all formal definition according to its own needs. The next pages study Pajak’s work from the conviction that his narrative model is absolutely in line with the premises of the contemporary aesthetics.
Palabras clave
Frédéric Pajak
Ensayo gráfico
Manifeste incertain
Imaginario
Graphic essay
Imaginary
Ensayo gráfico
Manifeste incertain
Imaginario
Graphic essay
Imaginary
Descripción
Materias
Cita
Aguirre Martínez, G. (2020). Imaginario caleidoscópico de Frédéric Pajak. Escritura e imagen, 16, 27-41. https://doi.org/10.5209/ESIM.73023