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The visual artefacts of Nicanor Parra must be comprehended as an organic part of his work. Their power is as strong as the reached on his anti-poems. Objects that play with the language, with the religious and popular iconography hide, and the same time manifest, a double sense that transforms into a ludicrous combination in front of the audience.
It would seem that Nicanor is always one step ahead of the reader of his works, poetic and visual. Nicanor is an admirer of Marcel Duchamp , the winner of the Miguel de Cervantes Award on and who creates objects that are positioned as ironic simulations of the poetic. This is how the sense is taken out of context, sometimes sacred, sometimes solemn, in a new discursive paradigm.
Parra is able to disregard the boundary fixed by the words by connecting on them the nystagmus around them, the contexts that locate them on the frame of enumeration. To be able to perceive all the magnitude of artifacts emerged from the creative hand of the anti-poet, it is necessary for the observer to define the work together with a culture that, tacitly, operates from the anonymity.
Parra criticises the Western society with his objects, which show political figures, from the church to the North American imperialistic consumption. His symbology resides on the dismantling of the codes that structure the Western society.
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