Hence, there are two truths: the truth of life and the truth of art.)” In this way, he argued for the artist's ability to create something entirely new, born of the imagination instead of mimicking the natural world. seeks the inner truth, the one to which the creator gives form and life and that without him would not exist.
Il cherche seulement la vérité intérieure, celle à laquelle le créateur donne forme et vie et qui n'existerait pas sans lui.ainsi, il y a deux vérités la vérité de la vie et la verité de l’art” (“The external truth that exists a priori is negligible from the point of view of art. Around 19, he had coined his new aesthetic "creationism.” Theorizing around it, Huidobro expressed, “la vérité extérieure qui existe a priori est méprisable au point de vue de l'art. In issue number 1, he writes about contemporary Spanish-language literature in general in number 18, about current literature in Spain and in issues number 7 and 15, he elaborated on his ideas about the modern aesthetic. Huidobro's contribution to L'Esprit Nouveau magazine consisted of four articles published in issues 1, 7, 15, and 18. Six of these articles were later part of his transcendental book Vers une Architecture, published in French in 1923 and English in 1927. The editors defined it as "the first magazine in the world devoted to the aesthetics of our time, in all its manifestations." Le Corbusier wrote essays in every issue declaring his primordial ideas about architecture and urbanism and his vision of a modern constructed environment. It contained essays on experimental aesthetics, painting, sculpture, architecture, literature, music, film, theater, furniture, and more: in sum, articles about the new aesthetic of modern life, written by prominent personalities of the European avant-garde. The periodical was active until 1925 when 28 issues were printed. Among them is his contribution to the publication on modernity L'Esprit Nouveau founded in 1920 by Le Corbusier and painter Amédée Ozenfant and edited by poet Paul Dermée. Huidobro also created and participated in countless critical cultural magazines in Chile, Spain, and France. His ideas left in Spain a long-lasting imprint in the contemporary literary circles. In Madrid, he met with Robert and Sonya Delaunay, his long-time collaborator Rafael Cansinos-Assens, and many other important figures. In Paris, he became acquainted with numerous preeminent literary and visual arts figures such as Guillaume Apollinaire, Louis Aragon, André Breton, Blaise Cendrars, Jean Cocteau, Paul Éluard, Max Ernst, Juan Gris, Joan Miró, Amedeo Modigliani, Francis Picabia, Pablo Picasso, Pierre Reverdy, Tristan Tzara and more. In 1925, he was welcomed by modern poets such as Pablo de Rokha, Rosamel del Valle, and Pablo Neruda when returning to Chile. In the late 1910s and the1920s, he spent time in Paris and Madrid, leaving a recognized legacy as a creative force and theorist of modernism in literature. In addition to being a radically innovative poet, he was also a novelist, playwright, scriptwriter, politician, and polemicist.
They contributed with their uncontested zeal to the exposure and promulgation of their vanguardist views in Chile in all areas of culture, including architecture.īorn of a wealthy family, Vicente Huidobro (1893-1948) was a Chilean poet and a pivotal figure of the early avant-garde literary movement in Latin America and the Spanish-speaking world. In the 1920s and 1930s, the modern architectural movement in Chile conceals interesting lineages with literature and the visual arts, specifically through two fundamental literary figures of the modern movement, Vicente Huidobro and Juan Emar. History is woven through the intertwining of assemblages of collective alliances, sometimes propelled by individual initiatives and innovative ideas that manage to unleash crucial cultural developments.
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