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“Ahi, dentro del templo / con el sol del membrillo, el de septiembre”. Estos versos conectan uno de los poemas mas celebres de Claudio Rodriguez (“Incidente en los Jeronimos”) con una de las peliculas mas celebradas de Victor Erice (El sol del membrillo). Bajo el influjo de ese sol enganoso se escenifican dos aventuras esteticas condenadas al fracaso, pero que ilustran la altura de los grandes empenos. Vinculados con la gesta de Icaro, el poeta-pajaro y el cineasta-pintor no solo ofrecen una leccion sobre la caida, sino que ensayan sendos estudios sobre la naturaleza de lo visible, la densidad del tiempo y la funcion del arte. “Ahi, dentro del templo / con el sol del membrillo, el de septiembre”. These lines connect one of the most famous poems by Claudio Rodriguez (“Incidente en los Jeronimos”) with one of the most celebrated films by Victor Erice (El sol del membrillo). Under the influence of this treacherous sun, two aesthetic feats are represented. Although both the poem’s and the film’s characters fail to achieve their objectives, they demonstrate their courage in facing great challenges. As happens with Icarus rising, the poet-bird and the painter-filmmaker not only exhibit a tragic performance, but also rewrite an essay on the meaning of nature, the density of time and the function of art.

Ícaro vuela de nuevo: arte y ensayo en Claudio Rodríguez y Víctor Erice = Icarus flies again: art and essay in Claudio Rodríguez and Víctor Erice