Manners of ripping the Literary Salon. The sans/oeuvres of Alberto Greco (c. 1963) and Osvaldo Lamborghini (c. 1983) ; Maneras de rasgar el Salón Literario. Las s/obras de Alberto Greco (c. 1963) y Osvaldo Lamborghini (c. 1983)

Alberto Greco’s. (c. 1963) and Osvaldo Lamborghini's (c. 1983) ‘sans/oeuvres’ oscillate between absence and excess. They are glimpsed more in the manner of the mirage of a Real than with the corporeality, figurative and fleeting, of the performative event. They show and demonstrate themselves in an elusive way. They are there, among the things of the world, open and scattered, in plain sight, but their unspecific and formless composition covers them with a pringy patina that generates the vertigo of a misread illegibility because they are made of debris. This paper registers his dilettante materials, and how they come from scavenging among the scraps of language and images, from rummaging through literary trash, from appropriating remnants of industrial production, from untimely including remains of the present of production and, perhaps most importantly, from adding, without a tremor of hands, junk from a fallacious and hallucinatory memory of one's own biography to the aesthetic object, thus reformulating in the artistic device anauratic experience. ; Las “s/obras” de Alberto Greco (c.1963) y Osvaldo Lamborghini (c. 1983) oscilan entre la ausencia y el exceso. Se vislumbran más al modo del espejismo de un Real que con la corporalidad, figural y fugaz, del acontecimiento performático. Se muestran y se demuestran de manera esquiva. Están ahí, entre las cosas del mundo, abiertas y esparcidas, a ojos vistas, pero su composición inespecífica e informe las cubre de una pátina que genera el vértigo de una mal-leída ilegibilidad por estar hechas de desechos. Este trabajo registra sus materiales dilectos, y cómo estos vienen de mecherear entre los desguaces de la lengua y de las imágenes, de revolver la basura literaria, de apropiarse de remanentes de la producción industrial, de incluir intempestivamente restos del presente de producción y, acaso lo más importante, agregar, sin temblor de manos, trastos de una memoria falaz y alucinatoria de la propia biografía al objeto estético, reformulando así en el dispositivo ...