Goya depois de Goya

Abstract

The assembly procedure of the poem "Goya despues de El Prado", by Hebert Benitez, updates Francisco de Goya's Engraving # 43 and, through heterocrony, incites a reading of the "principle-atlas" (Georges Didi-Huberman) and the configuration of the monster as compossibility and mixture, from the pre-Socratic philosophy of Empedocles of Agrigento. The attribution of value, causality, periodization and, in particular, heterocrony are substrata of this reading scene that seeks to articulate the 1799 engraving and the 1999 poem to the notion of “deactivation of autonomy” (Raul Antelo) and, on course, finds the heterochrony and the assembly of the artist Leila Danziger, in his exhibition "Navio de emigrantes" (2018/2019).