Salvador Gallardo Cabrera

Lezama, and later Deleuze, discovered that the baroque does not refer to an essence, but to an operative function. That operative function is the fold, which "curls and multiplies", as Lezama writes, and proliferates to infinity. We all know the examples with which Lezama placed his concept of the American baroque: the poems of Domínguez Camargo, those of Sor Juana, the architectures of the Kondori Indian, the baptismal fonts of Aleijadinho, "ornamented like accordions, with spiraloid leaves that ascend"; the chapel of the Rosary, in Puebla, omamentada "without truce or free spatial parenthesis". This is how the fold operates, it is like a leprosy or a lichen -in the past, certain lichens were called leprosy-: it infests by enveloping and developing, it proliferates by setting in motion the fold-unfold pair. Lezama does not seek to reconfigure the sequences of history, but to superimpose other cycles on them, create gaps and vanishing points in chronological and causal narratives, divert the emphasis placed on cultures and redirect it to imaginary eras, until the meaning comes from a series of scales established in the historical. The eras would be ordered according to their potentiality to create images; thus it would be possible to establish the points where the image was imposed as history. The Carolingian imaginary era, for example, forged a link between the prodigies, the marvelous islands, the battles against the Saracens and theocratic reason. How are these scales established and how do they operate? How do counterpoint, images and links work?

The year 2021 marked the commemoration of the centenary of the appearance of the stridentist movement and the literary avant-garde in Mexico. Stridentism broke into the public con- sciousness with the publication of the leaflet Actual No 1 on the main thoroughfares of Mexico City, convulsing the cultural en- vironment of the early 1920s and bringing together diverse young artists to undertake a literary renewal. This facsimile edition of Actual No 3, the final issue of Manuel Maples Arce’s magazine, which appeared a hundred years ago this year and which until very recently was practically unknown, seeks to bring to the pub- lic something that is at once a singular avant-garde object and a magazine that expressed, at a very early stage, the cosmopolitan, iconoclastic, youthful character of stridentism and its time. "Stridentist Neo-object Actual No 3" is a essay that shows that from foundationless things and objects without gravitation to recomposed neo-objects emerges one of the lengthiest, rup- tured, polyhedric mutations in all fields of knowledge. The historical avant-gardes worked precisely in the turning of the tide on auratic objects that led to the appearance of neo-objects or recomposed objects. In their approach to objects, they tried var- ious operations: they deepened the depresentification of “natural” or “given” things, seeking—in some cases—dematerialization, the simultaneity of planes, the breakdown of logical links, while in others they the sought the primacy of the concept. They created multidimensional neo-objects shot through with events, on the scales of spaces, from the juxtaposed to the dislocated, the simultaneous contiguous to the dispersed, and the close to the distant. They criticized objects and materials they saw as bourgeois, auratic, and linked to ancient traditions and techniques. They created new syntactic velocities through which they interdigitated technical objects newly fashioned by human sensibility.

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, the paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films.