Author Archives: Fundación Loewe

Craftsmanship & Experience

On 21st January 2020, the LOEWE FOUNDATION Craft Prize Jury convened in Madrid. Taking advantage of its presence in the Spanish capital, the LOEWE Foundation organized a talk on the subject of contemporary craftsmanship at the Paper Pavillion in the IE School of Architecture & Design, bringing together three members of the Experts Panel: Ramón Puig, Sara Flynn, and Koichi Io. The talk, which took place in English, was moderated by journalist Anatxu Zabalbeascoa.

During his welcome speech, Edgar González, Dean of IE’s Design School, highlighted three fundamental concepts that are at the heart of the LOEWE Foundation philosophy: innovation, tradition, and context. Sheila Loewe, President of the Foundation, introduced the talk’s participants by underscoring the effort put forth during the selection process that had taken place over the previous two days, as they had deliberated and chosen the finalists among more than three-thousand entries. Zabalbeascoa – Executive Secretary of Experts Panel and President of the LOEWE FOUNDATION Craft Prize Jury – explained what had inspired the Foundation when organizing this talk: “We’ve always felt we needed to share all the information we are privy to: images, beauty, good intentions, the breaking down of barriers that is achieved through the work we do…. That is why we love organizing these talks, as much as we love having artists and artisans from all over the world teaching classes or participating in conferences.”

Koichi Io (Tokyo, 1987) embodies a commonality shared by many artists: family tradition. Because his father and grandfather are known metal artists, the concepts of dynasty, hierarchy, and evolution are very much present in all the pieces he creates. The Japanese artist identified three distinct processes that are integral to his work with silver, iron, copper, and aluminum: goldsmithing, casting, and engraving. He showed images of the different types of hammers he keeps in his workshop -anywhere between 200 and 300-, of which he uses 5 to 10 when working on his individual pieces. Koichi pointed out that, in general, he seeks “to eliminate the original function of an object” and then explained how, through traditional metalworking processes, he goes about his work, managing to get to the heart of his pieces.

Sara Flynn (Cork, 1971) studied at the Crawford College of Art & Design. Her workshop – of which she showed numerous images – is in Belfast, Northern Ireland. Flynn, who is one of the Panel’s expert potters, talked about how her mother’s approach to life’s problems had influenced her artistic development. Flynn learned to create with little means, taking advantage of random materials one might come across. The Erskine, Hall & Coe Gallery in Mayfair featured her first solo exhibition in 2012 and Flynn recognizes how important their support has been, as they have organized a biennial exhibition of her work since then. “I wouldn’t be where I am today if it hadn’t been for them,” she says. Flynn’s creative determination has been fundamental in her evolution as an artist, which begun with her first functional clay pieces.

Master Jeweller Ramón Puig Cuyàs (Mataró, 1953) symbolizes Spanish creativity and masterful craftsmanship with pieces that push the boundaries of traditional jewellery. Puig Cuyàs explained how he began making jewellery because he found that, generally speaking, it was uninteresting. While still unsure about what career path to embark upon and against his family’s wishes -who expected him to enter a more traditional field of study – he ended up in Barcelona’s Escola Massana. “When I got there, I felt like I’d finally found my place in the world. It was like being born again.” Although the relationship between a piece of jewellery and its owner is very intimate, the spirit of sharing and expressing was key for Puig Cuyàs. He tried to democratize his pieces by using less expensive materials and creating original pieces, evoking the primitive sense of ornaments, the spiritual sense of jewellery pieces, and avoiding the mere decoration of the body. He concluded by saying, “I feel free when I grab my coffee in the morning and head to my studio to work.”

The evening ended with the artists exchanging ideas about evolution and social change; they questioned the role of craftsmanship in our current field and the emergence of large-scale production and technology; Lynn explained that craftsmanship means “investing in a person over a long period of time and committing to the raw material used. It is a very real thing.” For Io, who produces no more than 30 pieces in a given year, “craftsmanship is like cooking: you have to chop and prep… you have to use your hands,” while for Cuyàs it’s “an alternative to industrial manufacturing, which focuses on low-cost mass production. A year after acquiring it, you are no longer interested in wearing it, while a handmade piece is something you treasure year after year and wear over and over again.” By contrast, he explained, “an industrial product has a price, but no value.”

Photo Captions: Contemporary Craft Talk. Anatxu Zabalbeascoa, Koichi Io, Sara Flynn, and Ramón Puig Cuyàs at the IE Paper Pavillion in Madrid.

Chance Encounters V – Art Basel Miami 2019

For the fifth consecutive year, the LOEWE Foundation continues its commitment to bringing together artists from various disciplines in unexpected conversations. Chance Encounters V, through the work of British artist Hilary Lloyd, turns LOEWE’s Miami store into a unique artistic space.

Colour and textile interventions created by Hilary Lloyd (b. 1964, Halifax, UK) – the main artist featured in this year’s edition – are accompanied by images recorded in and around her London studio, which are projected on monitors and screens, taking on a surprising prominence; curtains, frames, and other set-like objects create a space that seems to be activated by the viewer.

For more than three decades, Lloyd has worked and lived in London, where she experiments with film and video within sculptural installations; this exhibition at Art Basel Miami perfectly showcases her most refined work. The videos, which make use of repetitive movement, jump cuts, and sweeps, conjure both her own restless gaze and the experience of increasing speed that characterises the way in which we consume images today.

In and among Hilary Lloyd’s installation is the work of another British artist: Ewen Henderson (1934 – 2000) is one of the most esteemed members of an illustrious generation of potters that included Gordon Baldwin, Gillian Lowndes, and Ian Godfrey. Henderson’s large-scale ceramic sculptures, some of which are presented in this exhibition, were born out of his need to manipulate clay in order to reach total abstraction. The roughly-textured surfaces and layered colour of his pieces often resemble the stratified nature of rock or earth totemic works, evidence of his interest in Neolithic and ancient art.  The pieces presented lead to the perfect interdisciplinary and timeless dialogue between two fundamental artists.

‘The Chance Encounters exhibitions are an opportunity to create conversations across time between artists whose work resonates strongly with my own creative approach,’ says Jonathan Anderson, LOEWE’s Creative Director. ‘Hilary Lloyd’s work is perfectly attuned to the contemporary moment and the way in which we engage with the visual world around us. It stages a striking dialogue with Ewen Henderson’s bold materially-rich work.’

Chance Encounters V. LOEWE Miami Design District, 110 NE 39th Street, Suite #102. Miami, Florida, United States. Until 2nd February 2020.

Photo Captions: Installation view. Hilary Lloyd: Robot, The Shop, Sadie Coles HQ, London, 09 October – 07 November 2015. Hilary Lloyd, courtesy of the Sadie Coles Gallery, London. Ewen Henderson: Group of Standing Stones.

The female voice prevails in the 32nd LOEWE Poetry Prize

Gavieras, by Aurora Luque (Almería, Spain, 1962), has been awarded the 32nd LOEWE FOUNDATION International Poetry Prize by a jury chaired by Víctor García de la Concha and made up of members Gioconda Belli, Antonio Colinas, Aurora Egido, Margo Glantz, Juan Antonio González Iglesias, Jaime Siles, Luis Antonio de Villena, and Basilio Sánchez, the 2018 Prize recipient. The winner of this year’s Young Poet’s Award is Aunque los mapas, by Raquel Vázquez (Belmonte, Lugo, Spain, 1990).

Today at the LOEWE Gran Vía store in Madrid, Sheila Loewe, the Foundation’s President, announced the names of the winners in the presence of both poets and a few Jury members. Víctor García de la Concha’s first words, spoken before reading the Jury’s minutes, were for Enrique Loewe, who was also present. For a number of years, they shared the joy of carrying the prize together.

Gioconda Belli presented Aunque los mapas, by Raquel Vázquez, the recipient of the award given to authors who are under 30 years of age, explaining that the Jury had unanimously recognized the maturity shown by this young woman. Her poetry “comes from a very intimate place, allowing her to create a world filled with images that dazzle because of their originality and depth. A world that speaks of encounters and losses without sentimentality”. Her poetry is “both accessible and refined ” and the Jury was able to identify endings “with strong and powerful images, such as the dancer who knows exactly how to move so that we remember her in our mind’s eye, even when we no longer hear the music”. Belli expressed how happy she was that “this country’s centuries-old tradition of writing great poetry” has survived among young Spaniards.

Raquel Vázquez, who was incredibly grateful, found it “difficult to express how much it means to be here right now, not just because of the Prize or the fact that Aunque los mapas will be a published book -and in such a magnificent way-  but also because of this shared joy over that ephemeral, fragile, and almost precarious illusion that everything is fine; and that is a feeling that in and of itself, is a gift.”

HIROSHIMA

El tiempo en Hiroshima avanza en bicicleta.
Cíclicamente en los parques florecen
rosas y rayos gamma.
Un niño pedalea a lo largo del Ôta
con barba encanecida.
Otro juega al balón, no teme aún al cielo.
Una anciana recuerda la seda del yukata
derramada en las manos de su madre.
Febrilmente una joven hace el cómputo
de camisas radiactivas, palomas
blancas ante su ingreso por primera
vez en un hospital.
Un peatón se detiene.
Está azul el semáforo.  Entrecierra
los ojos para ver, cree ver.  Avanza.
Cruza un pájaro la rueda del sol
sin saber de los tarde.
Sin saber del dolor o de los nunca.
La bomba atómica sigue cayendo.
Sólo vemos la luz,
no cómo nos quemamos.

Raquel Vázquez
Aunque los mapas
32nd LOEWE FOUNDATION International Young Poets Award

Poet Juan Antonio González Iglesias presented Gavieras, this year’s winning book: “The name `LOEWE Prize´ honours all those who have received it, but I think I can say that the name Aurora Luque also honours the Prize. It was a pleasant surprise for all of us to confirm that we were welcoming one of poetry’s giants into our already outstanding roster.” He went on to explain that Luque’s book takes “a rather odd traditional Spanish noun and makes it feminine and plural, offering a perspective that could become historical because it deals with many women, whose individual traces, when put together, draw the poet’s self-portrait. We very much value the feminine and the plural when awarding the Prize.” He also pointed out “the humanist spirit” that addresses “the condition of women, and therefore the human condition; our condition. Female figures from Greco-Roman times to today’s urban, postmodern, and pop culture. She begins with Safo, recalling simple elements of ancient cultures that we oftentimes forget.” González Iglesias also highlighted the winning book’s references to Joaquín Sabina and Polanski as a way to “celebrate urban culture and free time.” Aurora Luque expressed her gratitude for the Prize and showed her joy at being the newest member of its cast. She highlighted that the Jury “is made up of people I deeply admire. They are the main reason why I submitted my work and I hope LOEWE continues to support poetry for many centuries.” She then explained that while writing some of the poems of the winning book, she was also preparing her newest translation of Safo’s work, including a few newly found poems. And it was precisely while rediscovering the Greek poet, that one of Gaviera’s masterpieces was born.

HABLO A SAFO

Ven en mi ayuda, Safo,
¿me traes unas alas? Dos juegos:
Unas para mi espalda
-¿Se clavan? ¿Me harán daño?-
y unas leves de abeja
para cada palabra.
Trae miel de la tuya, de la amarga.
Esas cosas antiguas
-miel, sandalias, frescor,
las alfombras marinas de la luna
que esconden a la muerte deseante,
aletazos violentos que ponen a saltar,
como pez en la arena, al corazón,
una ambición de voluptuosidades.
Paladear recuerdos
o lamer una piel que ha regresado
de gozar la negrura de las olas,
miel recién fabricada,
hierbas para acostarse a mediodía,
rosas sin hibridar.
No nos son tan ajenos tus objetos.
Sólo hay que detenerse.
Pedírtelos.
Apartar tanto ruido.
Pues nos falta muy poco
para estar muertas.
Tráeme, Safo, alas,
alas, alas, frescor,
silencio, brazos,
alas.

Aurora Luque
Gavieras
32nd LOEWE FOUNDATION International Poetry Prize

The award ceremony and presentation of the winning books published by Colección Visor de Poesía will be held next March, 2020 in Madrid.

Photo Captions: Aurora Egido and Raquel Vázquez in the LOEWE Gran Vía store. The Jury of the 32nd LOEWE FOUNDATION International Poetry Prize © LOEWE FOUNDATION, 2019.

LOEWE’S Windows

It is no coincidence that LOEWE’s Madrid Gran Vía store –it opened in 1936 and it is the brand’s oldest retail space that remains open today– is hosting an exhibit showcasing one of the fashion brand’s most distinctive features: its windows. The exhibit is a time travel experience that brings us closer to LOEWE’s history and shouldn’t be missed.  It spans 70 years of displays and 8 different themes.

Designed by visual artists and artisans, the fashion house’s windows have always caught the eye and attention of passers-by; in exhibit the exhibit, there are recreations of some of the most memorable windows, a few juxtaposed with current interpretations by Jonathan Anderson, LOEWE’s Creative Director. In addition to photos and explanatory texts, the sample includes iconic pieces, such as a huge metal grasshopper from the 1960’s designed by José Pérez de Rozas –the fashion house’s magnificent window designer for more than 30 years– which stands next to Anderson’s reinterpretation of the same grasshopper for the summer 2017 display.

Also on view are wax and watercolour sketches of the windows that Perez Rozas drew, a few impressive horse heads by sculptor Amadeo Gabino, and a sculpture of Princess Margarita, the main subject of Velázquez masterpiece Las Meninas, on loan from Enrique Loewe’s personal collection.

Once again, LOEWE’s history, creativity, and excellence in craftsmanship takes us on a journey through time allowing us to appreciate the social and aesthetic particularities of past generations.

A través del cristal: los escaparates de LOEWE. Galería LOEWE, Gran Vía 8, Madrid. From 12th September [Monday to Saturday: 10 a.m. to 8:30 p.m. Sundays and Holidays: 11:00 a.m to 8 p.m.]

Photo Captions: A través del cristal: los escaparates de LOEWE.

CASA LOEWE, in London

CASA LOEWE has become one of the firm’s most attractive concepts: it implies luxury, intimacy, and culture in ways that perfectly match the exquisiteness and charm of the Spanish fashion house. The idea behind the CASA LOEWE concept, which emerged from the presentations of LOEWE’s collections at the Maison de l’UNESCO in Paris, is to simulate the dreamt-up home of an avid art collector.

In LOEWE’s recently-opened store in New Bond Street, in one of London’s most iconic neighbourhoods, this unique concept serves as a link between the contemporary spirit of the LOEWE Craft Prize and the annual Miami Chance Encounters art exhibition series. The beautifully designed store, which occupies the three floors of an historic building, showcases a cylindrical lift and floating spiral staircase that takes its cue from the Georgian period.

Since Jonathan Anderson took over as the fashion house’s Creative Director, the firm has made its presence in the UK capital known. The second floor of the New Bond Street CASA LOEWE will showcase a series of permanent and rotating art pieces, an impressive kaleidoscope of design, craftsmanship, and modernity. There are currently 14 works -including three oak vessels by Ernst Gampierl, the winner of the inaugural 2017 LOEWE Craft Prize, and a series of 15 photographs by Alair Gomes- all strategically placed throughout to surprise and charm CASA LOEWE’s visitors. Some of the artists whose works are currently on exhibit are none other than Anthea Hamilton, Edwin Lutyens, William Turnbull, Grayson Perry, Nicholas Byrne, Giorgio Griffa, Caragh Thuring, Daniel Sinsel, Axel Vervoodt, Ron Nagle, Alvaro Barrington, Magali Reus and Justin Fitzpatrick.

Photo Captions: Anthea Hamilton, Vulcano Table. Daniel Sinsel, Butzenbrille. Alvaro Barrington, Been around the world -2.

Aplications open for the LOEWE FOUNDATION Craft Prize 2020

LOEWE is pleased to open submissions for the LOEWE FOUNDATION Craft
Prize 2020, and to announce that it will take place in Paris at the Musée des
Arts Décoratifs. Submissions for the LOEWE FOUNDATION Craft Prize 2020
will be accepted until 30 October 2019.

Jonathan Anderson states ‘the fourth edition of the LOEWE FOUNDATION Craft
Prize promises to build on the high standard set by our previous editions. It has
been gratifying to see how the Prize has been recognised as an important platform
for craft and its role in today’s culture.’

An expert panel composed of artists, artisans, essayists, curators and designers will
consider all submitted works in order to select a shortlist of up to 30 submissions. The panel’s choice will be based on a number of key criteria: originality, clear artistic vision and merit, precise execution, material excellence, innovative value and a distinct authorial mark.

New additions to the expert panel this year include, Hyeyoung Cho (SecretaryGeneral at the Korea Craft and Design Foundation), Rodman Primack (GlobalAmbassador for Design Miami), Koichi Io (metal artist and finalist of the LOEWE FOUNDATION Craft Prize 2019) and Sylvie Vandenhoucke, glass artist and finalist of the LOEWE FOUNDATION Craft Prize 2017.

These shortlisted works will then form the basis of an exhibition due to go on display
at the Musée des Arts Décoratifs, Paris, from which the Prize’s Jury will select the
winning piece. The Musée des Arts Décoratifs, Paris was founded in 1882 to
promote the applied arts and develop links between industry and culture. New
members of the jury for 2020 include Olivier Gabet, (Director of the Musée des Arts
Décoratifs, Paris), and Genta Ishizuka (Winner of the LOEWE FOUNDATION Craft
Prize 2019).

You can download the rules of entry for the LOEWE FOUNDATION Craft Prize here.

 

Last days in Sogetsu Kaikan

Sogetsu Kaikan – where the headquarters of the Sogetsu Foundation are located in Tokyo– will host, through 22nd July, a selection of finalist works from the third edition of LOEWE FOUNDATION’s annual Craft Prize, including the winner of the contest, a spectacular piece entitled Surface Tactility # 11 (2018), by Genta Ishizuka.

A prestigious jury made up of specialists as renowned as Anatxu Zabalbeascoa, Jennifer Lee, Naoto Fukasawa, and Patricia Urquiola, selected Ishizuka’s work from a total of 29 finalists. For many years, the pieces created by this Japanese artist, who graduated from the Kyoto University of Arts & Design, have been showcased in numerous individual and collective exhibitions around the world. He has also earned a spot in the permanent collections of the Minneapolis Institute of Art and the Victoria & Albert Museum in London.

On view in Tokyo are two other pieces that had been awarded honourable mentions by the jury: `Untitled´ from Dichotomy Series (2018) by Harry Morgan and KADO (Angle, 2018) by Kazuhito Takadoi. These and other finalist works are on display at Isamu Noguchi’s indoor stone garden ‘Heaven’, inside the Sogetsu Kaikan building.

Jonathan Anderson, LOEWE’S Creative Director, established the LOEWE Foundation Craft Prize to highlight the firm’s artisanal roots and relevance in modern design; it was conceived out of a desire to acknowledge these important contributions. From jewellery, wood, and glass to stationery and lacquer – among other specialties- the works that make up the exhibition underscore what is relevant in craft today. An exemplary sample that will be on show for just a few more days.

LOEWE Foundation Craft Prize, until 22nd July. Sogetsu Plaza, 2-21, Akasaka 7-chome, Minato-ku, Tokyo (10 a.m. to 6 p.m. Friday until 8 p.m.)

Photo Captions: LOEWE Foundation Craft Prize at Sogetsu Kaikan.

Hervé Guibert at PHotoESPAÑA

The LOEWE FOUNDATION participates in PHotoESPAÑA 2019 with a monographic exhibition of Hervé Guibert’s work, and in doing so, maintains the same line as in previous editions with Minor White and Hujar-Wojnarowicz. Guibert’s works can be seen through 1st September in LOEWE’s emblematic Madrid Gran Vía store.

María Millán, the sample’s curator, presents the vulnerability of an artist who faced his illness head on, giving his personal struggle a social voice that resonates to this day. A writer and photographer who expressed his artistic vision while speaking out against his reality, Herve Guibert (1955-1991) represents the artists of a generation who, despite their relevance in intellectual circles, were stigmatised because of their AIDS diagnosis. A master of capturing everyday life, Guibert’s photographs show immense delicacy both in the composition and in the perfect balance between light and shadow. The sample is made up of images showcasing everyday life as well as friends and lovers and his own literary activity. We see, among others, Balthus and his wife, Michel Foucault, Isabelle Adjani, his friend Thierry, and his aunts. These were all key people in Guibert’s life at the outset of his illness and as it developed, which is portrayed in an elegantly crude way.

Guibert –who, at the time, had made a name for himself in intellectual circles because he wrote a photography column for Le Monde– had to face the hostile social rejection that his illness provoked, as evidenced in his work. Towards the end of his life, the artist questioned the renowned French liberal school of thought, and brought his personal fight against death to the forefront, giving it a social conscience that, in turn, has given a voice and a presence to a minority that, in many parts of the world, is forced to fight, even to this day, for fundamental rights and freedoms. Through the portrayal of scenes from everyday life, which reflect his desires, aspirations, and worries, Guibert’s work invites reflection and social commitment. All the exhibited images are photographs authorised by the artist’s estate and on loan from the Maison Européenne de la Photographie.

With this sample, LOEWE provides a stage for the social causes Guibert fought for and, as such, hopes to contribute to the fight against intolerance and marginalisation that still exist in many places around the world, in addition to shining a light on the threat of losing rights and freedoms that had been previously won. Within the framework of this vindication and coinciding with the exhibition, Agathe Gaillard, Christine Guibert, and Kiddy Smile met at 7 p.m. on 3rd July at the Círculo de Bellas Artes in Madrid to commemorate the Parisian artistic scene of the 1980’s. The talk was moderated by journalist Jorge Barriuso.

Hervé Guibert. PHotoESPAÑA 2019. LOEWE Gallery, 8 Gran Vía Street, Madrid. From 5th June to 1st September [Monday to Saturday: 10 a.m. to 8.30 p.m. Sundays and holidays: 11 a.m. to 8 p.m.]

Photo Captions: Autoportrait, 1989. Balthus et sa femme, 1988. Collection Maison Européenne de la Photographie, Paris © Hervé Guibert.

Genta Ishizuka wins the LOEWE Craft Prize 2019

Surface Tactility #11, 2018 by Genta Ishizuka wins the Craft Prize 2019

Surface Tactility #11, 2018 by Genta Ishizuka

Jonathan Anderson, LOEWE creative director, commented on this year’s winner: ‘Ishizuka’s work proves that craft can be open and shows the freedom of creation. His use of an ancient lacquer technique in a contemporary form breaks conventions and represents a new sculptural vision in craft.’

The Jury also agreed upon two special mentions:

Harry Morgan, for the work ‘Untitled’ from Dichotomy Series, 2018. The jury commented: ‘This radical work by Harry Morgan is a paradoxical confrontation of materials which don’t belong together. He brings a craft spirit to common materials.’

‘Untitled’ from Dichotomy Series, 2018 by Harry Morgan,

Kazuhito Takadoi for the work KADO (Angle), 2018. The jury admired the work for ‘being a craft without a name’ and applauded the fact that Takadoi is involved in the piece from conception, from growing the material in his garden to creating an object with a very powerful form.

KADO (Angle), 2018 by Kazuhito Takadoi

Jennifer Lee, Winner of the LOEWE FOUNDATION Craft Prize 2018, observer of this year’s prize said: ‘This year’s finalists prove that old traditions of making continue to surprise us and be radical and contemporary. The prize makes you inquisitive and opens your mind to new ways of making and working with materials.’

From the 26 June to 22 July, Genta Ishizuka’s winning piece and all the finalists’ works will be showcased at a free exhibition at Isamu Noguchi’s indoor stone garden ‘Heaven’ inside the Sogetsu Kaikan building in Tokyo. From ceramics, furniture and glassware, to basketry, jewellery and blacksmithing, the show demonstrates the artists’ quests to reconcile the ancient with the avant-garde.

Antonio Cabrera

 

We want to share two poems of our passed friend Antonio Cabrera, winner of the International Poetry Prize Loewe Foundation in 1999, who will always be dearly remembered.

ANTONIO CABRERA

XII Winner Loewe Foundation Poetry Prize

 

LA INTIMIDAD

Vine hasta aquí para escuchar la voz,
la voz que según dicen nos habla desde dentro
y endulza la verdad si la verdad
merece una degustación serena,
o la hace más amarga si es amarga,
con sólo pronunciar la negra hiel
que ha reposado intacta entre sus sílabas.
Vine hasta aquí para escuchar la voz
que no sabe, ni quiere, ni podría engañarnos.

Elegí este lugar de belleza imprevista.
(Llegué hasta él casualmente un día de abril
por el que navegaban nubes grandes,
manchas oscuras sobre el suelo, pruebas
acaso necesarias de que la luz habita
entre nosotros: esa transparencia
que olvidamos y que es, al mismo tiempo,
difícil y evidente.)
Diré por qué es tan bello este lugar:
forma un valle cerrado entre montes boscosos,
un circo escueto que circundan peñas
rojizas, donde el viento es un cuervo
delicado aunque fúnebre;
los hombres han arado su parte más profunda,
y allí crece el olivo y unos pocos almendros
y un ciprés y una acacia; las sombras del pinar
asedian desde entonces las lindes de estos campos,
su yerba luminosa, y el pedregal resiste
como un altar al sol; todo tiene una pátina
de realidad, un ansia, un prestigio remoto.

Porque creí que este silencio era
igual al de una estancia solitaria,
vine a escuchar la voz que desde dentro
nos habla de nosotros mismos. Pero
pasa el tiempo y escucho solamente
la prisa del lagarto que se aparta de mí
Y el vuelo siseante de la abeja,
no mi voz interior.
Todo es externo.
Y las palabras vienen
a mí y en mí se dicen ellas solas:
la ladera encendida bajo la nube exacta,
el bronce del lentisco,
una roca que liquen acaricia…
Lo íntimo es el mundo. Con su callado oxígeno
Sofoca sin remedio la voz que quiere hablar,
la disuelve, la absorbe.

He venido hasta aquí para escucharme
y todo lo que alienta o es presente
me ha hecho enmudecer para decirse.

LA ESTACION PERPETUA

El invierno se fue. ¿Qué habré perdido?
¿Qué desapareció, con él, de mi conciencia?

(Esta preocupación -seguramente absurda-
por conocer aquello que nos huye,
me obliga a convertir el aire frío
en pensado cristal sobre mi piel pensada,
y a convertir la gloria entristecida
de los húmedos días invernales
en la imposible luz que su concepto irradia;
esta preocupación, en fin, tiene la culpa
-y qué confuso y dulce me parece-
de que duerman en mí los árboles dormidos.)

El invierno se fue, pero nada se lleva.
Me queda siempre la estación perpetua:
mi mente repetida y sola