Invitados Especiales

Joel Alanís Medina

Escultor y pintor originario de la Hacienda de Monteprieto, Santiago N.L., con estudios de Escultura en la Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” ubicada en México D.F.

La obra de Joel Alanís se caracteriza por el uso de materiales y técnicas tradicionales, de un trato simple y sin rebuscamientos de la forma, dejando a un lado los “cómos” para usar libremente la intuición plástica.

La utilización de la talla directa permite un contacto continuo, una relación más cercana con la materia, un hecho creativo un tanto mágico, lleno de momentos especiales que al final producen obras únicas que expresan en su totalidad los sentimientos del artista.

Una pinza para el Silencio

Desde quehaceres y misiones muy distintas Venumia, asociación dedicada a la atención de mujeres que viven en violencia y Entelechia, plataforma artística y editorial, se unieron al esfuerzo de concientizar a la sociedad sobre la violencia de género presentando la exposición: “Una Pinza para el Silencio”. Esta muestra nace de la participación desinteresada de ambos proyectos con el claro objetivo de hacer reflexionar a la sociedad sobre la Violencia de Género desde una visión artística.

El Instituto Sima, preocupado por el tema, envió a sus alumnos de séptimo y octavo grado a visitar la muestra para realizar un ensayo; Entelechia, ha premiado a los cinco mejores y los presentamos como parte de nuestros invitados especiales.

Nota: Los textos y reflexiones de los alumnos, han sido respetados en su totalidad incluso con las pequeñas faltas que pudieran tener en su redacción.


Alexis Gómez

“Una pinza para el silencio”

This exposition is about gender violence, I think that’s how it’s pronounced in English, it’s about how silence can be a form of violence, it’s about how women and men suffer abuse and violence in their houses, hotels, streets, bars, etc. And this exposition had five murals with phrases about this theme. In each mural there was a phrase and an image about the theme except for one that was a he text about this theme and they gave a very long speech about this and get the ones there to know more about the theme.

The mural that I picked has this phrase on it “Soy un cadaver bellísimo en el silencio flotando con los pulmones llenos de agua aprendí un lenguaje incomprensible inhumano lejano a todo lo tangible a lo importante un lenguaje lento y acompasado como las palabras de la justicia” this phrase in someone that doesn’t know the theme of the exposition would think that the woman was drowned by someone and she was fighting to get off and was trying to talk but in the water wasn’t understandable so its an inhuman language.

But the literal meaning of this mural is that he/she is drowning with her own words because it’s like he had his mouth full with water and she is drowning and he has to get the water out but she can’t because she has fear, the same happens with words he/she is drowning on his/her own words and to stop from drowning she/he has to get it out but she/he is afraid because whatever she/he is keeping inside she/he has fear to say it because if the one that is abusing her/him its going to react badly and keep abusing of her/him, but if he says it she will be free she will be able to breathe again normally without anything to hide and nothing to be scared.

My conclusion is that I would have liked to see more people in the exposition because this is a huge problem not only in Mexico in the whole world and they are afraid of talking, but the only way to stop this problem is that the people that are suffering of this take a step ahead and do something so that this problem that affects a lot of people it eradicates for good and give one less thing to worry about in this insecure world.

David Alejandro Alonso


Una Pinza Para El Silencio

The exposition “Una Pinza para el Silencio” was overall really good, although short, still was good. The paintings or writings, whatever you want to call them, were really deep and have a different meaning for everybody because of the way you interpret it. Among all of the paintings, there was one that just stood out for me because of the short description and the drawing. It does not have a title so I´m just going to put the text that came with the drawing. The text reads, “Debemos hablarlo desgarrarnos la lengua destrozarnos la garganta debemos gritar, aunque no haya nadie ni uno solo detrás del muro que entienda de silencios”. I chose this harmonious piece of art because the colors used, the style of drawing, and the attached text made it all blend together and come to life. I really enjoyed the mix of all these 3 elements that I just said before. The reason why it is important is related to the reason what it signifies to me. The reason why it is important is because no matter what, you have to speak and stand for yourself, no matter if you have to shatter your throat into little tiny cubes, you just have to stand for yourself. Also, the part where it says “aunque no haya nadie ni uno solo detrás del muro que entienda de silencios” is important because you have to always do it no matter if the person “in the other side” wants to step over you or just does not take you seriously. Now, the reason what it signifies to me, is that I follow that kind of “culture” or thought, if you want to say it like that because of all the things that I would describe later. I speak and stand for myself no matter what, because I´m so stubborn and if I know I´m right, I´ll fight for it. Other reason of what it signifies for me is that almost all my life I have been not taken seriously in a lot of situations and places, and I learned how to just don´t care and stand/speak for myself. The part where it says you have to shatter your throat, I always repeated that phrase to myself, “you have to make yourself valuable and important”. Another reason of what it signifies to me should be the way it is drawn. For me that drawing symbolizes the title of the exposition, since you can see 2 little pins at the end of the face and the text talks about silence, so it is related to the title.

In conclusion, this exposition was really nice after all. It has just one minor flaw that is that the exposition was short, and I would really, really have loved to see more drawings and clever, deep, thoughtful texts written by Patricia Butrón, to whom all my respects shall I give because of her amazing work. I seriously hope that they make one next year and I would totally go. Thanks Miss Lulu for giving me the opportunity to meet this wonderful exposition.

Emiliano Álvarez


“Una pinza para el silencio”

The exhibition “una pinza para el silencio” is to make you know about gender violence.

I chose this image mainly because of the illustration shown in it, when I saw it I did not have to read the rest, I had an idea about what it was for me. It’s a women the blue can mean that that suffocated, drowning maybe, even can be dead, the left side of the face has one eye closed and the other side does not, it struck me that it does not have an eyebrow on this side I feel it could be, because it can look like a singularity of a person and the left side means the opposite , with the face of a fish without apparent features of happiness, rather without feelings, leaving where his ear should be, symbolizing the oppression to which women are subjected over the decades, in the past women suffered much as gender and may in this image mean that they are equal to fish, treated as a crowd, not as an individual, always speaks of women in plural and do not think about each of them and that all of them have their opinion independent of the others, this is a disgrace and even in the 21st century it is still happening, although it looks little happens and it happens to all the women I think, also at the height of the mouth there is a wire that carries to the left and the end of the thread is lost, but it has something different, there are tweezers in it, 5 to be exact, i don’t know that means the amount, but what I think is that they mean each one is an opinion that was saved and they kept quiet for fear maybe or I guess every woman has her own reasons for not talking about something.

On the other hand, on the right side you can see a more illuminated face than on the opposite side, with an open eye signifying the understanding of your situation and without silencing it expresses it and therefore has a much more extensive hearing that although the society tries to do it fish a woman can achieve it make aesthetic and beautiful as one, in the mouth at the beginning did not really understand what came out of it, after a while I understood, is the side of the woman without chains, from her mouth comes the fish that they have in them and it can be seen that in the cable there is no tweezers as it should be in the beginning.

In the case of the text I am called in particular a thing a phrase in Spanish that says “aprendi un lenguaje incomprensible, inhumano” This for me made me understand and realize what being a woman involve, be what society wants and follow beauty guidelines and standards even if you do not want to fit into it, and I guess it’s difficult.

Everything I wrote before was in my opinion and does not represent the opinion of anyone else, and if in any assumption am wrong, it is because of my misunderstanding and ignorance of the subject since I as a man, unfortunately will never understand and live the same as a woman lives and what they have to hold because of being born as women in this society, but anyways for my all woman are beautiful and unequaled.

Erin Giselle Rodríguez

Erin_Giselle_Rodriguez_Lopez Erin_Giselle_Rodriguez

“Una pinza para el silencio”

Before I start telling you about my favorite thing in the exposition, I would like to tell you that I thought in the exposition I would find sculptures, or some paintings, or that sculptures that are made with recycled materials, but when I arrived and saw this short and others not that short poems I totally changed my way of seeing expositions. What I mean is that I always thought since I was little but conscious that expositions were based in weird sculptures (not necessarily weird but sculptures) or paintings and that I never thought an exposition could be about poems. Now, when I arrived to the exposition I started watching each one of the poems, I started to analyze each poem and also the big drawing that had each of them. I really liked all the poems but the one that really caught my attention was the one that said: “Soy un cadáver bellísimo en el silencio, flotando con los pulmones llenos de agua, aprendí un lenguaje incomprensible, inhumano, lejano a todo lo tangible, a lo importante, un lenguaje lento y acompasado, como las palabras de justicia.”

What I liked of this poem is the way that people can interpret its meaning, because there are millions of ways you can imagine what the poem is talking about. I love that depending on the situation or problem you are going through, do not caring about if you are male or female, this poem can be really helpful no matter what. Also, besides the varied meanings of the poem the drawing that is beside the poem also has varied ways of understanding it. If  you just pass beside it you will just see a weird painting of a girl or woman, but if you stop for a moment you will notice that in the head of the woman the ears are interpreted as a fish, you can notice that the fish in the head of the woman has a moustache, you also can notice that in certain parts of the painting you can see or watch different forms of a face, and finally in my way of looking at it I imagine that the mouth of the women is kind of  unstitched.

Personal opinion about the poem and the drawing:

When I read it for the first time I did not understand it. I read it twice and I was still incapable of understanding it. I did not want to ask somebody to tell me what was the meaning of it, so I read it for the third time, and there was when I understood it (but in my own way). What I understood about this poem or what I imagine was about a woman that her husband was only happy with her if she did not tell anyone about what was happening, that she was all the time crying about her situation that her lungs were almost full with water, that her husband was always telling her hurting words, and that at the end she founded the way to get out form that situation. After this I was curious about other people´s opinion and I asked my mom what she thought the poem was about and she told me almost the same but at the end she said that the woman died of women violence, because she did not say and did something. Now in the case of the drawing beside the poem,what I liked the most was the fish, meaning or reflecting that Mexican phrase little kids say that is ”No te oigo, no te oigo, tengo orejas de pescado”, which in this case I think it means that when a woman is in that situation normally she does not worries that much about because normally she is scared about the consequences it can bring, and the faces around her, that I think it means all the people watching her scars or bruises or in deep, her psychological damage.

In my conclusion, I loved this exposition; it was for me, something new to watch. I liked the poems but what I liked the most were the drawings beside each poem, it was a simple drawing for simple sight but once you stop to watch them it leaves you in shock. I obviously would like to go again.

María Fernanda Rodríguez


Una pinza para el silencio

When I arrived to the the exposition one of the pieces that caught my attention was ´´Eloisa´´, I had read everything and I realized that unlike the other pieces it was clearer (well, at least for me), it gave the message that had to give without any filter, it was like feel what the person who was in that situation felt, of course to understand and go beyond from words you need attention and sensitivity.

This writing shows the hell that lives a woman day after day, a woman who is caught between the clutches of a man who mistreats her and never knew how to value her, even though that man promises that he will change is only momentary because it will never be different. The more time that passes, the worse it gets, the blows and insults are stronger until he ends up destroying she out completely absorbing all the love that was in her heart. t is sad that many women live the life they do not deserve, that they do not receive enough love from that person with whom they signed a lifelong agreement but the worst thing is that they do not have enough love for themselves, to put their emotional stability before everything and end that miserable life. Nobody notices what is happening in that girl’s house that we saw with bruises in the subway, the mother who was crossing the street with her three children by the hand and a new life in her belly or the woman with the lost stare in that supermarket. It is true that no one dares to do things out of fear, but fear is only a word which we have committed to turn into an enemy to the point that it consumes us, in this case it is responsible for taking women who are mistreated to a toxic and immune happiness state. Things are never going to get better when you are in the place where you have been hurt, there is always a way to escape to a new place where you can be happy, there is always a small ray of light. I believe that it is important to be always in alert of the people around us, to notice all those signs and forebodings that let us know that they need help to get out of that horrible abyss.

No one deserves an unhappy life full of bruises, nor waiting for him to arrive so that cold sweat drips from your forehead, fear is present and felt the acceleration of the heart. All the women of the world need to know that they are not alone and that their voice will always be full of power in any situation of abuse or mistreatment.

No one deserves a life like Eloisa’s …

Sofía de Alejandro


“Una pinza para el silencio”

The theme of this exposition was sexual violence, and I am going to talk about all the paintings and paragraphs, and explain them. Poetry, in this case, expresses silence not as an absence of noise, but as way of dying internally. Because if you experience sexual violence and you don’t say a thing, either they are never going to catch the one who did that to you or they’ll keep doing that to you or other people and they could kill you.

I am going to talk first about “Eloísa”. Eloísa is a story that talks about a woman named “Eloísa” that I think is her boyfriend or a random guy who rapes her. At the beginning she never thought that “signing” this “contract” will lead her to a “sentence”. This story left me really impacted, because she was scared that he will rape her again, but she never said a thing. That it is why we always need to tell what happens to us, express ourselves and don’t remain in silence. Now I´m going to talk about “Deposito”, because the rest of the paragraphs that were on the paintings are contained in this whole text. This was my favorite text, but my favorite part is the last paragraph, which I thought it was totally true. But well… Deposito talks about a girl that now regrets that she did not tell somebody that she was abused; she pretended that nothing happened, she was a prisoner. So now she tells us that if we know about someone who is being raped or if we are being raped, we need to tell it, don´t keep the secret. So now my favorite part… well… in this paragraph talks about that they were raped, mistreated, killed and then they report them as disappeared. I stayed to hear one of the conferences they made and I learned this: Words can help preventing violence. Everyone is who they are because of what they told them who they are or what they are. A human believes in what they hear. The silence get us sick, silence hides us the truth. Society is getting sick of this silence and little by little it considers it normal. If we can talk, we need to do it, because little by little we can break this silence.

In conclusion, this exposition was really interesting, as well as writing this essay, silence is something inhuman, that is why we need to speak.




Diseñador Gráfico e Ilustrador, Egresado de la Facultad de Artes Visuales (UANL) en 1997. Desde entonces se ha desempeñado como productor gráfico orientado a soluciones de diseño e identidad, ilustración editorial y comercial, así como soluciones para plataformas electrónicas. Ha trabajado en distintos despachos y agencias de publicidad en la ciudad de Monterrey, Desde el año 2009 emprende la idea de trabajar como Diseñador independiente ofreciendo resultados de comunicación, mediante soluciones efectivas y apegadas a los objetivos específicos de cada proyecto, enfocándose al perfil empresarial y corporativo generando proyectos para diversas empresas como: ITESM (Tecnológico de Monterrey), Conarte, Editorial Pearson, S.E.P., Revista a! Diseño, Revista El Inversionista, Warner México, (entre otras).

image002 image003 image004 image005




(Monterrey, 1973)

Ingeniera Química Administradora, egresada del ITESM. Alumna del Taller del Arenal impartido por el maestro Eliseo Carranza Guerra desde 1997 y del taller de la Universidad de Nueva York a cargo de la poeta Jen Bervin en otoño del año 2002. Publicaciones en la revista Litera del ITESM, en la sección “Micropoesía” de El Cultural del periódico español El Mundo y en las antologías “¿Versamos?” y “I Homenaje Poético a Jaime Sabines” de Editorial Pasos.



Con la crueldad de un circo dan cuerda a la caja de sorpresas animales blancos
y cuando el sobresalto de la víctima
todo es amargo como cebo de elefante en este parque azul
la tierra borbotea sangre sobre nuestros curiosos labios
el placer es una plaga de pulgas trapecistas saltando en orgásmica miseria
los dientes se afilan con la ignorancia de un crimen
y la epidemia tiembla como un león ante el odio que funde la carpa semigris.


En la cima del escombro
las moscas doradas
coleccionan números podridos.


Vamos a creernos esta historia
como leerían las arañas
o los murciélagos en sus cavernas
pensarnos humanos
deletrear poros
no exista lenguaje letal que nos asuste
o enuncie caricias disfrazadas
de villanos errores ortográficos
¿qué se piensa la fidelidad?
(absurdos los superhéroes animales).



Hace años me encontré, de pronto, en el extremo del salón de las herencias
enfrente de mí, con sus reumas abiertas, estaba mi madre en actitud de espera
bastaba cruzar el veneno del pasado para abrazarla
mientras me acercaba, noté que al mismo tiempo me alejaba de mi hija
y tuve que detener la telaraña del futuro para escuchar su desamparo
todavía sigo caminando, acercándome y alejándome a la vez
y por temor a ser yo misma
no consigo llegar a mi propio secreto.


Líbrate de la codicia del verano
y derrumba tu espalda en mi frescura
ahí te esperan las grapas del lagarto.






M.D.G. Carlos Alberto Rodríguez Torres

Egresado de la Facultad de Artes Visuales de la Universidad Autónoma de Nuevo León. Con experiencia de más de 18 años como diseñador gráfico, en su trayecto profesional ha desarrollando su trabajo para diferentes empresas y de manera independiente. Del 2010 a la fecha aporta sus conocimientos por medio de la docencia, impartiendo clases en la Facultad de Artes Visuales de la U.A.N.L. Cuenta con un título de Maestría en Diseño Gráfico con Orientación en Dirección Creativa.

Ha colaborado como ilustrador en diferentes revistas editoriales, y ha participando en exposiciones colectivas tales como Muerterrey, Sendero de los Muertos, The Warsie Force: Homenaje a Star Wars, Exhibición de Stencil, Exposición 36, todas ellas desarrolladas en diferentes espacios culturales tales como la Galería Regia, Centro Cultural BAM, Centro Cultural Mina 911, Escuela Adolfo Prieto, Graficante, el ART y la Facultad de Artes Visuales.

El juego cromático forma parte importante en sus piezas, la intensidad del color es parte fundamental en la aportación de su trabajo, considerando el colorido como elemento fundamental para la transmisión de situaciones, estados de ánimo o nostalgia. Contempla el color como parte de su mexicanimso, ya que considera de manera importante la influencia de sus raíces mexicanas.

El juego, el aprendizaje, lo onírico, forman parte de los temas que trata en sus piezas, así como también la cultura mexicana, el costumbrismo y lo artesanal enriquecen sus temáticas y su exploración.
Considera como influencia importante las ilustraciónes de libros de texto e ilustraciones de cuentos.

Su trabajo como productor visual abarca desde ilustración manual, ilustración digital, pintura con acrílicos, modelado en barro, modelado en pasta para modelar, tallado en madera y stencil.




(Monterrey, 1958).

Maestro normalista (Escuela Normal Miguel F. Martínez, 1977), Licenciado en Letras Españolas (UANL, 1989), Máster en Educación Media Superior (ENSE, 1984), Coordinador de Letras Hispánicas de la UANL (desde 2015). Coordina talleres de Creación Narrativa y de Poesía desde 1993. Ha obtenido primeros lugares en diversos concursos de narrativa breve y sus textos han sido antologados en varias publicaciones electrónicas y en papel.



Se le ha dicho que nunca vaya a mirarse al espejo cuando la luna llena lo ilumine. No recuerda quién fue. Han pasado muchos días desde entonces. Pero hoy, sus aburridos pasos lo han llevado al gran salón de su vieja residencia. Y, como otras veces, se detiene en el dintel y mira con atención. No hay nadie. Las cortinas abiertas dejan pasar la pálida luz del plenilunio. Un ruido leve, quizá la brisa, lo obliga a mirar hacia el espejo estilo Imperio. Avanza un paso y cuando su pie logra tocar la duela, el eco de una risa infantil lo paraliza. Vino de lejos, como si hubiera atravesado un mar de tiempo para llegar ahí. Haciendo un esfuerzo avanza un paso más y nada ocurre. Animado por esta señal, sigue andando. Está a poco menos de dos metros cuando percibe con el rabillo del ojo una rápida sombra. ¿Una mujer? ¿Un vestido de amplio vuelo? Fue tan rápido que no puede saberlo con precisión. ¿Y si fuera verdad que comparte esta casa con seres malignos como algún día le previno la abuela? Se quiere devolver a su recámara y dejarse envolver por el protector ruido de algo que se mece y que lo obliga a cerrar sus sentidos nerviosos al mundo que lo desprecia. Pero también desea llegar al espejo, mirarse en él mientras la luna llena sigue iluminando. Cobarde lo han llamado y sabe que en el fondo no lo es. Entonces, otras sombras pasaron con fugacidad. Afuera, la brisa trae voces que se apagan apenas las oye. Se siente arropado por el frescor de la noche; con un temblor apenas disimulado, se acerca, por fin, al espejo. Se coloca en una de sus esquinas, se asoma y no se ve reflejado. ¡No se ve, no se ve! En cambio, ahí en esa superficie plana, diáfana como la luz de la luna, ve y oye a unos niños, una mujer y un hombre que platican alegres bajo la cálida luz de unos candelabros nuevos, una alfombra bella y limpia, en este gran salón reluciente, fino, amable, opuesto al suyo donde está mirando con la boca abierta, viendo a una niña que lo mira y dice con una voz llena de terror: “¡Miren! ¡Ahí! ¡Un fantasma!”.



Atardece, y veo que la ventisca arrecia. Afuera de los restos de la avioneta sólo diviso un desolador panorama blanco. Llevo cuatro días atrapado entre los escombros y ninguno de quienes me acompañaban ha sobrevivido. Ni mi esposa, que yace a mi lado como si durmiera. Pensábamos pasar las fiestas navideñas en Valparaíso, pero el destino quiso otra cosa aquí en algún lugar de los Andes. Después de mucho batallar, logré hacer un pequeño fuego y tengo todo listo para realizar mi primer alimento. Qué tremenda es la Vida. Hoy es Navidad, una fecha digna de una cena que, para mí, será más que especial. No tengo mucho de dónde elegir; pero, tampoco creo que a mi esposa —en caso de que pudiera —le importaría cederme un muslo o una paleta.


Stipes de Nocte

Antenoche fui caritativo y sin embargo, me tendré que ir de esta ciudad. ¿Por qué nada puede ser fácil?

Lo bueno es que no hubo luna. Todo ocurrió en el Parque Hundido. Cada que los humanos actúan con violencia provocan olores que me atraen. Por eso fui a ver lo que sucedía. No tiene caso que lo recuerde, pero no me puedo sacar la desamparada expresión del niño recién ultrajado por esa bestia. Tampoco puedo olvidar el olor a sangre derramada. Aún estaba vivo y su victimario huyó cuando adivinó mi silueta arriba de la farola. Huyó más por el miedo a sus actos que por el miedo mismo. Y ahí estaba la criatura, desangrándose, con la ropa hecha jirones. Patético hasta para alguien como yo. Y su mirada triste clavándose en el brillo de mis ojos. Descendí hasta él.

Lo salvé. Así nada más. Alcé su pecho y descubrí su cuello. Hundí mis colmillos y apenas pude resistir un temblor cuando mi garganta comenzó a tragar. Nunca había probado nada tan joven, tan sutil. No podía dejar que muriera así, lejos de la justicia que lo abandonó. Le ayudé a vestirse, a recomponer su ropa maltratada. Le expliqué cómo tendría que hacerlo y le señalé hacia dónde huyó el pérfido.

Fue así que ayer volví al Parque Hundido. Él debía de andar por ahí. Siempre volvemos al punto de origen; por eso sabía que el niño andaba cerca. Entonces, seguí la ruta que le había enseñado y, no muy lejos, dentro de un bote de basura, presentí un cadáver. Era el ultrajador. La turbia luz de las farolas me mostraron decenas de pequeños agujeros en el inútil pene arrumbado cerca del cuerpo desangrado. Sonreí. No pude evitarlo.

Cuando me giré para tomar el vuelo, vi al niño. Estaba con la respiración agitada, como si hubiera corrido mucho. Su cabello desordenado me informaba de lo mal que lo había pasado. Me dio ternura. Le hice un gesto invitándolo a seguirme. Bajo la oscura sombra de unos árboles, lo liquidé. La justicia ha sido vindicada y ahora tengo que irme de esta ciudad, por mi propio bien.



Miguel Cantú


Miguel Ángel Cantú, nacido en Monterrey Nuevo León en el año 1993, inspirado por los creativos dibujos y pinturas del monero Leonel García, su abuelo, comenzó a dibujar desde pequeño. Estudió Diseño Industrial en la Facultad de Arquitectura en la UANL, donde lo que más le apasionó, fueron las técnicas de representación y dibujo. Hambriento de técnicas más técnicas pictóricas comenzó a buscar en talleres en Conarte, cursó “Ingeniosos acrílicos” con Joel Flores en 2012, de manera autodidacta ha aprendido acuarela y durante 3 años consecutivos cursó en talleres de dibujo y grabado con el maestro Enrique Oviedo en la Escuela Adolfo Prieto, donde se ha obsesionado con el grabado en diversas técnicas. En el año 2012 obtuvo el segundo lugar en el Certamen comic e historieta, y en el 2014 el tercer lugar en el mismo certamen. Ha participado en exposiciones colectivas en la Escuela Adolfo Prieto (Trazos del blanco y ruidos del color, 2014), en Abasolo (Arquitectos en el Arte, 2016) así como en el evento de Mexigráfika 2016.


Armando Alanís Pulido


Originario de Monterrey, Nuevo Léon, poeta y promotor cultural. Es fundador y creador del proyecto Acción Poética, que actualmente se lleva a cabo en más de treinta países.

Hoy nos acompaña con tres poemas de su libro Balacera, Ganador del premio Gilberto Owen 2014-2015 y publicado por Tusquetts en el 2016.


Antes de seguir órdenes de los de arriba, ya había caído muy bajo.
Antes de las armas largas, ya tenía el alma corta.
Antes de la decapitación, había perdido la cabeza.



(¿Alinearse o alienarse?)

Pero tú escribiste con humor tu poesía romana
y que la vida se encuentre retratada en ella.
Marco Valerio Marcial

¿No es gracioso miembros del senado? hay instantes tan parecidos a los instintos
Hay blancura en mi escritorio: la página, el polvo…
Y me elevo y luego caigo y algo sale de mi cabeza
(supongo son los efectos del poema, porque de músico, poeta y coco
todos tenemos un poco).
Consúmanse en sus discusiones estériles,
esas en las que nadie habla de los índices de consumo,
eso sí, ya en lo oscurito la praxis, la praxis…
y los testigos firman, afirman y confirman
que les dan línea.


(Nuestra nueva nostalgia)

Estoy seguro que la felicidad estaba por aquí.