Luis alberto murray dir (1 risultati)
Altre immaginiLingua: Spagnolo
Editore: Buenos Aires, 1967
- Brossura
- Rivista/periodico
Da: Chaco 4ever Books, Montevideo, MO, UruguayChaco 4ever Books
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Quasi ottimo
EUR 1590,92
EUR 27,03 spedizioneSpedito da Uruguay a U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloEncuadernación de tapa blanda. Condizione: Muy bueno. In-4. #1 Apr 1967 - #13 1967. (lacks #14). Wrappers. Collaborators: Marcelo Fox, Gabriel Garcia Marquez, Miguel Brasco, Conrado Nale Roxlo, Daniel Giribaldi, Osvaldo Lamborghini, Benicio Nunez, Cesar Tiempo, Roberto Santoro, MartÃn Campos, Jauretche, Francisco 'Paco' Urondo,…among others. Illustrators: Quino (published parts of Mafalda and humor libre), Hermenegildo Sabat, Oski, Brasco, Kalondi and Steinberg, among others. Virtually absent from all specialized bibliography on the subject, La Hipotenusa was a unique magazine of humor, culture, and experimental literature with a Neo-Dadaist artistic edge. Its creator, Helvio I. Botana, was one of the most singular and unclassifiable writers of 20th-century Argentine literature. The publication boasted exceptional Art Direction by Juan Fresan, who, beyond designing every cover, created many of the interior collages. The caliber of literary contributions was extraordinary; it was within these pages that a very young Osvaldo Lamborghini began publishing his 'strange' stories. The magazine also features multiple collaborations by the 'cursed' writer Marcelo Fox and satirical texts by the poet and visual artist Roberto Santoro, forming part of his vast sarcastic literary production that remains largely uncollected. Adding to its mythical status, La Hipotenusa was abruptly canceled due to censorship and the cultural repression imposed by the civic-military dictatorship of Juan Carlos Ongania. From a bibliographic standpoint, it is important to note that the magazine was printed on rotary presses using newsprint. This material choice not only explains the natural fragility and scarcity of copies in fine condition but was also a key element of its aesthetic: Fresan masterfully utilized the coarse texture and 'dirty' print quality of the medium to enhance the high-contrast visual impact of his designs. Missing from all bibliographies. CodZ.
