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A group of Hispanic poets who are also photographers will have an exhibition at the Gladys Marcus Library of the Fashion Institute of Technology/SUNY. They are from Spain and Latin American.
The exhibition "Through the HIspanic Eyes: Poetry and Photography (THE)" will open on August 20, until January 2024.
Created and curated by Madeline Millan. In collaboration with Professor Pilar Banco, Department of Modern Languages & Cultures
Through the Hispanic Eyes: Poetry and Photography
HISPANIC HERITAGE MONTH 2023
Books and photographs exhibition
Gladys Marcus Library/Fashion Institute of Technology/SUNY
Department of Modern Languages & Cultures
The works in alphabetical order:
1. Manuel Araneda-Castex (Chile)
"Note one, Images of the abyss: 4/4 photography/poetry”
A selection of “Archipel de l´ absence”, the journey notes commissioned by the poet Gonzalo Rojas,
(Alec éditions, St Etienne, France, 2023)
1/4
Photo: Manuel Araneda Castex
Note 1
I do not belong to the wind but to the rain, I am not from this land but from the air / I arrived without knowing why I came, I lost my memory on the way / And I arrived at this air in an afternoon dream / At the end of the road there is still water that runs / And it is heard, added to the sound of the wind / Peace of birds, the stillness of my dog.//
Farellones, Oct 12 2020
Nota 1
No pertenezco al viento sino a la lluvia, no soy de esta tierra sino del aire / Llegué sin saber a qué he venido, perdí la memoria en el camino /
Y llegué a este aire en un sueño de una tarde /
Al final del camino aun hay agua que corre /
Y se escucha, sumada al sonido del viento /
Paz de pájaros, la quietud de mi perro. //
Farellones, Oct 12 2020
(Photo: Torres del Paine Park, Magallanes Chile)
2/4
Note 2
Miguel Hernandez /
Today my hands / who love dogs and my dog searches / because he knows they are a door to my soul / like these letters that come out of them / my dog who looks and sniffs / knows a lot about me and the world / because he knows how to read what that in the eyes of many / does not even exist / calm in its beautiful tenderness / speaks to me with its eyes / and I caress it. / For us the leaves move with the wind / It is the great event, and the two / as if we were one / contemplate in silence //
Our silence is sacred / like our love of dogs. //
Farellones, Aug, 22,2020
Nota 2
Miguel Hernández /
Hoy mis manos / que aman los perros y mi perro busca / porque sabe que son una puerta a mi alma / como estas letras que salen por ellas /
mi perro que mira y olfatea / sabe mucho de mi y del mundo / porque sabe leer lo que a ojos de muchos / ni siquiera existe / tranquilo en su bella ternura / me habla con sus ojos / y yo lo acaricio. / Para nosotros que se muevan las hojas con el viento / Es el gran evento, y los dos /
como si fuéramos uno / contemplamos en silencio //
Nuestro silencio es sagrado / como nuestro amor de perros.//
Farellones, Ago, 22,2020
(Photo: September 11 Memorial, Manhattan, NY, USA)
3/4
Note 4
Someone, the father, for example, is there, and suddenly he is no longer there, there is no presence. / Then, the spirit prevails, that intangible being that prevails beyond every body, beyond being and that is everything. //
Even when the body is present, it is everything, from humor to inspiration, it is everything, and then it prevails in me, my father, and a few others who are not there and who are in me, in my being as I am and sometimes in my daughter or son, and sometimes in the only air the spirit prevails, the rest returns to the land. //
Atacama Desert 17. 02. 06
Nota 4
Alguien, el padre, por ejemplo, está, y de pronto ya nunca mas está, no hay presencia. / Entonces, prevalece el espíritu, ese ser intangible que prevalece más allá de todo cuerpo, más allá del estar y que lo es todo. //
Estando incluso el cuerpo presente, lo es todo, desde el humor a la inspiración, lo es todo, y prevalece entonces en mí, mi padre, y otros pocos que no están y que están en mi, en mi ser como soy y a veces en mi hija o hijo, y a veces en el sólo aire prevalece el espíritu, el resto vuelve a la tierra. //
Desierto de Atacama 17. 02. 06
(Photo: Yagan (Yamana) Cementery, Navarino Island, Tierra del Fuego Archipelago, Chile)
4/4
Note 24
Cape, summit, America mother, were you born here? //
In this empire of beauty that begins in the Wollastons? //
Go for the calypso, go floating next to the moon, heading for a lighthouse and a metal albatross. //
Yámana waters, light and color for you, the voluptuousness of Cape Horn, the silence in the ship's bell, the silence to listen to the birds, to see the radar, our power to reach the Wollaston. The power of the waters, Neptune, Poseidon. Here it is not mermaids, here the Leviathan. The compasses must be precise, the lights so human. //
We arrive at Isla Hornos to illuminate, to anchor, to go down in a zodiac. Again light, again water. In the night of the world, in the light from the dark. There under the moon, at the end of the road. In the dark, the Immortal Albatross, facing the Drake Sea, where dreams are seen, where this field found, under the southern cross, under the moonlight, above the globe. //
Dedicated to José Balcells, and his Immortal Albatros. Cape Horn, one night at 3:00 p.m., May 28, 2007
Nota 24
Cabo, cumbre, América madre, ¿Aquí naciste? //
¿En este imperio de hermosura que se inicia en las Wollaston? //
Ir por lo calipso, ir flotando junto a la luna, rumbo a un faro y a un albatros de metal. //
Aguas yámanas, por ti luz y color, lo voluptuoso del Cabo de Hornos, el silencio en la campana de la nave, el silencio para escuchar las aves, para ver el radar, nuestro poder para llegar a las Wollaston. El poder de las aguas, Neptuno, Poseidón. Aquí no es de sirenas, aquí el Leviatán. Los compases deben ser precisos, las luces tan humanas. //
Llegamos a la Isla Hornos a iluminar, para fondear, bajar en zodiac. Nuevamente luz, nuevamente agua. En la noche del mundo, en lo claro de lo oscuro. Ahí bajo la luna, al final del camino. En la oscuridad, el Albatros Inmortal, frente al mar de Drake, donde se ven los sueños, donde este campo encontrado, bajo la cruz del sur, bajo la luz de la luna, sobre el globo terráqueo. //
A José Balcells, Cabo de Hornos, una noche a las 15:00, mayo 28 de 2007
(Photo: Barnebelt Island, Cape Horn, Chile)
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2. Jacqueline Herranz-Brooks (Cuba)
I Lyrics of the Streets (New York 2014).
Project Description: Lyrics of the Streets es un proyecto que incluye fotografía y texto y que consiste en pegar textos en las calles de Nueva York y publicar, de manera virtual, las imágenes que muestran los espacios donde estos textos han sido ubicados. Este proyecto fue preparado especialmente para el maratón poético de apertura el festival multilingüe The Americas Poetry Festival of New York 2014.
Proposed work:
One Black & White 14x11 digital photograph framed and artist’s photobook
Title, photo-book: Lyrics of the Streets (NY, 2019).
Format: Portrait 8x6, papel mate, A/C numeradas y firmados por las autoras. Tapa dura. 20pp.
Fiction Awareness. Pegatina en pedestal. Park Avenue, Nueva York. 2014.
II. Title of the Street Poetry Intervention Project: Poesía Basura. Trash Poetry.
Project Description:
Poesía Basura (2014-2020) es un diálogo con una frase de la artista visual Moyra Davey (“I want to make some photographs, but I want them to take seed in words”) y mi deseo por explorar otras plataformas para mi escritura la cual quería documentar en la calle. Conforman el proyecto Poesía Basura los textos que escribí para los objetos que fui encontrando en el vecindario donde me mudé hace ya varios años, en Queens. A partir de ahí escribí varios poemas para los objetos que los vecinos de mi cuadra desecharon al ser desplazados por el incremento del precio de los alquileres en esta área.
En 2019, las fotografías que documentan la ubicación de algunos de los poemas del proyecto Poesía Basura, junto a otros textos escritos directamente en objetos encontrados y en paredes y/o muros en áreas abandonadas en Nueva York, Chicago, La Habana y Ciudad México conformaron el libro I Want You (NY, 2019). La edición limitada de este foto-libro se realizó para el Festival del Carro Arte organizado por la organización de base SEQAA en el verano de 2019, con el apoyo de una beca de Queens Council on the Arts.
Proposed work:
One Black & White 14x11 digital photograph framed and artist’s photobook
Title, photo-book: Poesía Basura. Trash Poetry (NY, 2019).
Format: Portrait 8x6, papel mate, A/C numeradas y firmados por las autoras. Tapa dura. 20pp.
I Want You. Escritura a mano con lápiz. Túnel, Chicago. 2015.
III. Title of the Street Intervention Project: Cuquitas en Camarioca (una novela callejera por entregas) en colaboración con Eva C. Vázquez.
Project Description: CUQUITAS en Camarioca es el primer capítulo de una serie de situaciones de "migrancia" y es el producto de mi nueva colaboración con Eva C. Vásquez.
Tanto las fotografías (que yo tomé en La Habana en 2014) como los dibujos (de Eva) utilizadas en este proyecto, son el "desechable" e "innecesario" material que nunca llegó a utilizarse durante un performance anterior. La (re)seleción de este material desechado del performance y la segmentación de mi novela Mujeres sin trama (Nueva York, 2011) conforman este libro de autoras.
Proposed work:
One color 14x11 digital photograph framed and artist’s photobook
Title, photo-book: Cuquitas en Camarioca (NY, 2019).
Format: Landscape 8x6, papel mate, A/C numeradas y firmados por las autoras. Tapa dura. 20pp.
Cuquitas en Camarioca, pegatina en carro abandonado. Río Piedras, Puerto Rico. 2019.
IV. Title of the Street Poetry Project: Contested Territory. Poesía Repatriada
Street Poetry documented w/ photographs (poetry/artwork). Two poems, 4 locations.
Project Description:
Contested Territory: Poesía Repatriada is an urban-intervention, street poetry project centered around the Cuban repatriation process I undertook, at my mother's request, beginning in the summer of 2018. Contested Territory: Poesía Repatriada consists of my “repatriating” two poems I wrote in my present home in Queens, NY to Havana (my birthplace and home until 1999) and pasting them in abandoned places that are integral to my memories of being a queer, homeless artist in Havana during the late 1990s. Each intervention questions ownership of space and my efforts to claim them.
Proposed work:
One color 11x14 digital photograph framed and one artist’s photobook
Título del foto-libro: Contested Territory: Poesía Repatriada
Formato: landscape 8x6, papel mate, A/C numeradas y firmados por las autoras. Tapa dura. 20pp.
Poema 1. Paste-up en cafetería abandonada. La Habana, Cuba. 2018.
3. Llorenc Raich Muñoz (Spain)
Winterreise
Adaptación de los 24 poemas del ciclo Winterreise de Wilhelm Müller
Proyecto en proceso de edición
001_Der stürmische Morgen_Mañana de tormenta
002_Irrlicht_Fuego fatuo
003_Die Wetterfahne_La Veleta
004_Mut_Valor
3. Celeste Alba Iris Rodríguez (Mexico)
POEMA 1
CARTOGRAFÍA DE UNA HERIDA
Maneras de sumergirnos
Las aguas tienen distintas maneras de sumergirnos en sus humedades
Uno puede ahogarse en su propia saliva
inundar la piel de sudores
destilarse en lágrimas
Por eso
guarda esa foto sin naufragio
sin caracoles que cuenten de otra orilla
aquella antes de hacer olas
Ways to dive
The waters have different ways of immersing us in their humidity
You can drown in your own saliva
flood the skin with sweat
distil in tears
That's why
save that photo no wreck
without snails that count from another shore
the one before making waves
POEMA 2
CARTOGRAFÍA DE UNA HERIDA
La tumba encarnada que habito
I
Comencé a desenredar mi cabello frente al espejo. Después del baño tengo este ritual.
Esta vez lo interrumpo para buscar mi mirada entre los cabellos húmedos que siguen al frente.
Ahí estoy. Esa soy yo.
Mis edades, mi delineado permanente, el orificio izquierdo de la nariz más pequeño que el derecho.
Busco mi cámara.
La sostengo.
Un solo tiro de gracia.
The encarnate grave I inhabit
I
I started untangling my hair in front of the mirror. After the bath I have this ritual.
This time I interrupt him to look for my gaze among the wet hair that is still in front.
There i am That's me.
My ages, my permanent eyeliner, the left nostril smaller than the right.
I'm looking for my camera.
I hold her.
A single shot of grace.
POEMA 3
CARTOGRAFÍA DE UNA HERIDA
La casa de mi ausencia
Ando como equilibrista
en las baldosas
Busco el camino
la salida
de este calendario laberinto
Tengo la casa de mi ausencia
los días en pausa
un guardadito de horas disueltas
antes/luego de cerrar/abrir la puerta
My absence house
I walk as a tightrope walker
on the tiles
I look for the way
the exit
of this maze calendar
I have my absence house
the days on pause
a little bit of dissolved hours
before/after closing/opening the door
POEMA 4
DEL LIBRO YO ES OTRA
Yo es otra
Je suis autre
Arthur Rimbaud
No recuerdo la primera vez que me vi en otras lunas
fuera de los ojos de mi madre
Tengo en la memoria a un gato esponjándose
con temor ante su propio reflejo
No soy el gato
ni aquella imagen al otro lado de la mirada de mamá
Yo es otra
I is another
Je suis autre
Arthur Rimbaud
I don't remember the first time I saw myself on other moons
out of my mother's eyes
I have in memory a cat fluffing up
afraid of his own reflection
I'm not the cat
nor that image on the other side of mom's gaze
I is another
4. Pedro Serrano (Canada)
I
LA LLEGADA
Con la caída del sol la nieve salta,
cuenta hasta tres,
cuenta hasta dos,
marca espaciosa su territorio,
enarbolada viaja y enardece
aquello a lo que toca. Quiebra
la estructura aérea del desfiladero,
avanza entre pezuñas, grietas,
desfallece, ocupa
el pardo musgo que la espera.
*
Se extiende la nieve en una cortina sólida,
se acumula, llena los huecos, calla,
en rabia nos deja, ojo por ojo.
Pinta, ¿por qué no? ¿si no qué, si no?,
de rojo lo que no va,
gorriones, por ejemplo.
*
¿Es la nieve una misma extensión
acumulada en todos lados
como una mancha o una manda?,
pinta
en blanco hacia arriba,
viendo al cielo,
¿cual alma muda?, ¿no?,
de mala cauda, punta en blanco
hacia arriba,
remota, insuficiente, faldurienta.
*
Como una red topográfica
se levanta hacia el cielo aquí,
de gas estupefacto,
blanquecina, ceniza.
Pende en sí misma
como Alicia en el pozo,
de puntitas viendo un precipicio de organdí,
vaporosa de nubes, pellizcando
faldas y cañoneras por donde alce
majestuosa la rendición,
picadura de hielo.
Como si se despeñara al alzarse.
*
Machurrienta a veces, incipiente, pizpireta,
alta y esmerilada en su acomodo,
geométrica en la altura, sutil,
violenta y rígida y feliz.
Y una vez que llega como si te arropara,
como si te huyera,
detenida en el agua blanca.
*
Como un cuchillo fino el filo corta, limpia,
anda enamorado y silencioso,
azul de nuevo.
Hacia abajo,
como si fuera a su corazón,
la nieve guarda.
¿Qué guarda en ese estuche límpido,
puro cristal naciente?
¿por qué hunde la nieve tanto azul?
Azulina la nieve grita, entinta,
aguarda.
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Bios in Alphabetical Order
Manuel Araneda Castex (Chile)
https://www.australisdesign.com/
Director at Australisdesign. Architecture and Museum language scholar, photographer, poet and painter. Has been a researcher, professor and/or consultant for the PUCV, PUC, UDP, UNAB, NYU and SUNY. Awarded Scholarship from the Poynter Institute for Media Studies (USA). His experience includes: seven Chilean pavilions in Lisbon, Hanover, Guadalajara, and Shanghai; design, museum and exhibition projects for institutions, architects and historians in NY, Berlin and Chile, for the National Directorate of Museums, the Fulbright Commission, UK Embassy, British Council, PUC, SUNY, and for the “L ́art et creation” Gallery in France.
Was awarded with the Altazor Award for best poetry book of the year, and Latin American Award Theobaldo de Nigris for best corporate designer. He has worked for
companies from Japan, South Africa and USA, is currently preparing an exhibition at FIT/SUNY; webmaster in “Echo of Voices”, a multicultural and interdisciplinary poetry organization by Madeline Millán; Araneda is editor and designer in museums, poetry and research projects; he has two books in St Étienne, France; and an exhibition for the historian Christine Gleisner in Berlin.
He has created and directed the research project "The Trojan Cube, the museum on the table", at PUCV, about museographic language and territorial resilience in trauma and segregated or isolated children.
Manuel was poet Gonzalo Rojas personal assistant.
Manuel Araneda-Castex, is one six poets and photographers in this exhibit. His books about poetry and photography for the Chileans pavilions in the Universal Expositions in Lisbon, Hannover and Shanghai and the FIL in Guadalajara, about Pablo Neruda, Gabriela Mistral and especially for the poet Gonzalo Rojas, makes him one of the main voices and artist of this exhibit.
In 2019, he met with library staff to discuss a work on a mural for the Multimedia Language Lab and also an exhibition at the library display areas. Due to the covid, the project was postponed until Araneda comes back from Chile. As a book artist, web designer, and museum designer his contribution to this exhibition is immensely valuable. His experience and awards of book designs as well as in museography allow us to have A professional for the production stage of THE. Manuel will realize the exhibit design plan. He will develop the e-catalogue of this exhibition
Jacqueline Herranz-Brooks (Cuba)
https://jacquelineherranz.com/
Is a queer multidisciplinary author born in Havana and based in New York. Her projects merge research, documentary photography, poetry, the interpretation of soundscapes and urban interventions in multimedia installations. Jacqueline, who is interested in the process of fictionalizing and poetical personal events and in the creation of people. She has published several autofiction books including Liquid Days (Argentina, 1997), Scenes for Tourists (New York, 2003), Women without a Plot (New York, 2011) and Viaje en Almendrón (Installation book for Gallery Miller, 2015). Jacqueline's writing projects and research methods draw on the counter-
hegemonic experimental aesthetics of New York's Latino hybrid practices.
(An improvisation):
http://jacquelineherranz.blogspot.com/2021/03/improvisation.html
(Poetry e interpretación de sonido):
Camino en el mundo aleatorio “and welcome [others’] words to their final home”
http://jacquelineherranz.blogspot.com/2021/05/camino-en-el-mundo-aleatorio-and.html
Presentación del proyecto en otra comunidad artística:
https://revistaelestornudo.com/all-i-see-todo-herranz-
fotos/?fbclid=IwAR1agRUXN6XlsdQJntWg8f-zks7xnSIKJxX7n5VSBo7awQoWcbDw7-_qB0A
(Proyecto autorficcional):
Contested Territory: Poesía repatriada:
http://jacquelineherranz.blogspot.com/2018/07/disputed-teritory-poesia-repatriada.html
(Lecturas en la oscuridad)
Espectros (Reading Series Apagones):
https://soundcloud.com/sanarabia/espectros-2020-herranz-brooks-y-massari-spiritini-tarkampa
Project Presentatin and photos of the installation with sounds:
http://jacquelineherranz.blogspot.com/2021/02/espectros-la-primera-lectura-de.html
Llorenc Raich Muñoz (Spain)
Professor at IEFC, Essayist and Curator.
A regular participant as a speaker, teacher, advisor and panel member at photography centres, institutions and festivals, as well as curating exhibitions and international photography conferences. His line of research focuses on the theory and practice of the poetic and narrative aspects embedded in the language of photography. In his work as an essayist, he has published the following works: Corpografía. El cuerpo en la fotografía contemporánea (2012), Poética fotográfica (2014) y Fotografía y motivo poético (2015), Fotografía como poesía (2018), and Sobre la imagen poética (2020).
https://www.iefc.cat/es/equipo-humano/llorenc-raich-munoz/
For the 2024 symposium we are planning: Four lectures lasting approximately one hour, followed by another hour to discuss with the audience.
Word and photography. Hispanic confluences
Llorenç Raich Muñoz
The work of Spanish authors from poetry, literature and philosophy stretches towards Hispanic authors of the photographic space to establish bonds in their need to express, document and reflect on reality. Pieces of work and authorship as a pretext to exhibit the kind of relationships established between photography and poetry; between photography intended as poetry and the
poetry that resembles photography.
1. San Juan de la Cruz. The Conception of Language
2. Antonio Machado. The Conception of the Principles
3. Gabriel Miró. The Conception of Time and Beauty
4. María Zambrano. The Conception of Thought
The starting point is Spanish authorship, linked to the word, by an affinity with their work. It is not the intention to start from these as a reference that would colonise the photographic poiesis produced in Latin America, but as a means of gaining an understanding of its questioned identity, that which emerges from the life that the being agrees with its place of origin.
During the different lectures, the photographic work of the following authors will be referenced:
Francisco Gómez, Soledad Córdoba, Toni Catany, Manel Esclusa, Marta Sellarés (España); Graciela Iturbide, Manuel Álvarez Bravo, Ana Casas Broda (México); Luis González Palma (Guatemala); Juan Travnik, Oscar Pintor, Valeria Bellusci (Argentina); Sergio Larraín, Lola Falón, Gertrudis de Moses (Chile); y Javier Silva-Meinel, Billy Hare, Milagros de la Torre (Perú).
Celeste Alba Iris Rodríguez (Mexico)
Celeste Alba Iris is originally from Ciudad Victoria, Tamaulipas (1968); she lives in San Luis Potosí, San Luis Potosí, Mexico. Studied Modern and Contemporary Art in Mexico (UASLP), Master in Educational Innovation (UPN), and Bachelor of Communication Sciences (UAT).bGraduated from the College of Writers of the Northern Border (SOGEM/ITC). Celeste Alba created different author projects, among them “Miradas al Fotolibro” platform and the “Los Santos días de la Poesía,” writers meeting. She had received distinctions such as: 2021 and 2019 Support Program for Teaching, Research and Dissemination of the Arts, convened by CENART. Her project: “Miradas al Fotolibro” obtained the Manuel Ramos Photography Acquisition Award in 2017 by SECULT; in 2017 Celeste Alba Iris got the Reading Square built by the Tierra y Libertad School in Madero, Tamaulipas; in 2016 Recognition of cultural merit granted by the United Forces of Tampico. In 2012, Celeste Alba did an artistic residency in Cuba, and has served as ambassador to the Parliament of Writers of Colombia since 2015. She has participated in multiple individual and collective exhibitions. Her interest is focused on the creation of mixed writings that start from the image or the transfer between literature and photography. His recurring themes are identity and memory.
https://www.miradasalfotolibro.com/
https://celestealbairis.com/curriculum/
Pedro Serrano (Canada)
https://www.poetrytranslation.org/poets/pedro-serrano
Pedro Serrano (Montreal 1957) is a poet, essayist and translator. He teaches poetry and translation at UNAM. He was director of the Banff Interantional Translator Centre and Editor of Periódico de poesía de la UNAM. DefenßaS, a book on poetry and other wanderings, was published in 2014. La construcción del poeta moderno (The Construction of the Modern Poet), an essay on T.S. Eliot and Octavio Paz in 2020. With Carlos López Beltrán he published La generación del cordero (The Lamb generation) a bilingual anthology of Contemporary British Poetry. He translated William Shakespeare’s King John and Edward Hirsch’s Gabriel. A Poem.
His poems have appeared in Modern Poetry in Translation, Verse, Sirena, The Rialto, The Red Wheelbarrow, Nimrod, Bomb, and more recently on The Bitter Oleander and Another Chicago Magazine. He has been also included in the anthologies Reversible Monuments (Copper Canyon, 2002) Connecting Lines (Sarabande Books, 2006), Mexican Poetry Today 20/20 Voices (Shearsman Books, 2010), Being Human. More Real Poems for Unreal Time (Bloodaxe, 2011) and Literature. An Introduction to Fiction, poetry, drama and Writing, edited by X.J. Kennedy and Dana Gioia. He was granted the Guggenheim fellowship for poetry in 2007 and the Prix international de poésie Antonio Viccaro, in 2016. Peatlands, translated by Anna Crowe and introduced by W.N. Herbert, was published by Arc in 2014.
Organizers from the Department of Modern Languages and Cultures
Fashion Institute of Technology/SUNY:
Madeline Millán
madelinemillan.com
Poet and photographer has been preparing a book with interviews from 2022
to poets who are photographers. These and other Spanish interviews can be read in the online magazine ViceVersa. Millán is translating these interviews into English to be published in other journals:
https://www.poetrytranslation.org/poets/pedro-serrano
https://www.viceversa-mag.com/manuel-araneda-castex-la-condicion-humana-es-una-condicion-poetica/
https://www.viceversa-mag.com/entrevista-a-la-poeta-y-fotografa-celeste-alba-iris/
Madeline Millán is the creator and director of Echo of Voices. In conjunction with Pilar Blanco directs “Casa Pilar,” a writers’ and artists’ residence in Chapala, Mexico.
Pilar Blanco-Ruiz
https://www.fitnyc.edu/academics/academic-divisions/liberal-arts/modern-languages/index.php
BA, Brooklyn College, City University of New York & MA, MPhil, New York University, she is a professor at the Department of Modern Languages & Cultures where she holds the position of Assistant Chair. Known for her teaching excellency, she has been the voice and the leading person within the Hispanic Community at FIT/SUNY. She is the co-director of “Casa Pilar” in Chapala, México.
Mario Valero
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Anteriormente en
Echo of Voices is back after 10 years presenting poets from around the world through bilingual readings at the legendary Cornelia Street Cafe. This venue closed in 2018, and then, COVID 19. We had our mini festival within The New York City Poetry Festival. See
https://www.newyorkcitypoetryfestival.com/readings
In 2022 we will launch the event Poetry and Photography with a showcase of photobooks. Our anthology Echo of Voices/Eco de Voces will be published in conjuction with three publishing houses in NYC (And Then...), Spain (De Sur a Sur), and Mexico (Flor y Canto).
Echo de Voces regresa después de 10 años presentando a poetas de muchas partes del mundo. Las lecturas bilingües se realizaban en el legendario Cornelia Street Cafe el cual cierra en el año 2018. Luego vino el COVID 19. En el marco de un festival en NY
https://www.newyorkcitypoetryfestival.com/readings
logramos un mini festival con voces predominantemente hispanas. Saldrá una antología próximamente con tres sellos editoriales (NYC: And Then...; España: De Sur a Sur; y Mexico: Flor y Canto). Para el próximo año 2023 el tema es Poesía y Fotografía con exhibición de fotolibros.
