Ram\u00f3n of Pombo<\/a><\/span>.<\/p>\nWhat is Madrid like today, culturally speaking? How do you see your city now?<\/strong><\/p>\nIt is a culturally fragmented city, open to novelty, yet also with one eye fixed on the past and tradition. Eclectic, yet also critical, with a pronounced (and at times instrumental) institutional presence. Madrid has always been, and remains, an open, diverse, and plural city, though it is no longer central nor centralising. It now resembles, in some ways, the image of London evoked by Jorge Luis Borges in The Aleph<\/em>: \u201cI saw a shattered labyrinth (it was London)\u201d.<\/p>\nWhen and how did your interest in the vast figure of Ram\u00f3n begin?<\/strong><\/p>\nIn my book Los Despachos de Ram\u00f3n G\u00f3mez de la Serna. Un Museo port\u00e1til \u201cmonstruoso\u201d<\/em> (2014), I recount how prior to 1976 I had the opportunity to see the first installation of Ram\u00f3n\u2019s Buenos Aires study, as set up by the Madrid City Council in the Casa de la Carnicer\u00eda, Plaza Mayor, before it was incorporated into the Municipal Museum in 1976. If my memory serves me right, that was my first direct encounter with Ram\u00f3n, although I should also mention an earlier one, in my adolescence, through the venerable Austral Collection by Espasa-Calpe, which included several of his works, among them Nostalgias de Madrid<\/em>.<\/p>\nG\u00f3mez de la Serna caricatured by Bagar\u00eda in El Sol<\/em> (1928). Wikimedia<\/figcaption><\/figure>\nLater, in 1982, I once again crossed paths with Ram\u00f3n when I joined the Municipal Museum of Madrid (now the Museum of the History of Madrid), located on Fuencarral Street\u2014a street where Ram\u00f3n himself lived with his parents between 1901 and 1903. At the time, his study had been placed in storage following the 1980 exhibition Ram\u00f3n en cuatro entregas<\/em>, curated by Juan Manuel Bonet. That catalogue became essential reading for me.<\/p>\nIn 1995, while preparing the Gu\u00eda del Museo Municipal de Madrid. La Historia de Madrid en sus Colecciones<\/em>, I authored the chapter on \u201cTwentieth-Century Madrid\u201d, where I made brief mention of Ram\u00f3n\u2019s study in the context of the museum\u2019s new permanent display, which for the first time included its hitherto-unexhibited contemporary art collection.<\/p>\nBut above all\u2014and most significantly\u2014Eduardo Salas V\u00e1zquez and I oversaw the more expansive reinstallation of the study in what had once been the sacristy of the Church of the Hospice of San Fernando, the museum\u2019s present-day home. There, it was placed alongside the twentieth-century art collection. Reflecting on it now, there is something internally poetic about the fact that this key feature of Ram\u00f3n\u2019s life was permanently housed in a desacralised sacristy, and that Ram\u00f3n himself named his famous literary gathering \u201cLa Sagrada Cripta de Pombo\u201d (\u201cThe Sacred Crypt of Pombo\u201d).<\/p>\n
On page 26 of your new essay, you write: \u201cRam\u00f3n\u2019s prose, regardless of the genre in which it is expressed, is saturated with images; thus, it is hardly surprising that he should, at some point, have considered\u2014have seen clearly\u2014the possibility of accompanying or extending part of his literary output graphically\u201d. Could you elaborate on this?<\/strong><\/p>\nThe graphic extension of the written word\u2014intended to clarify or illuminate what is written, to use one of Ram\u00f3n\u2019s own adjectives\u2014is closely bound up with his literary production, especially his shorter pieces: articles, compositions in the form of apologues included in works such as Variaciones I\u00aa Serie<\/em>, Ramonismo<\/em>, Caprichos<\/em>, Goller\u00edas<\/em> or Trampantojos<\/em>, and, of course, his celebrated greguer\u00edas<\/em>, which Pura Fern\u00e1ndez aptly termed his \u201cuniversal password\u201d and by which he is now internationally recognised.<\/p>\n\u00abThe graphic extension of the written word\u2014intended to clarify or illuminate what is written, to use one of Ram\u00f3n\u2019s own adjectives\u2014is closely bound up with his literary production, especially his shorter pieces\u00bb<\/p><\/blockquote>\n
The graphic aspect by which he complements and simultaneously expands these brief prose forms is clearly illustrated in his definition of greguer\u00edas<\/em> and greguerismo<\/em>, published on 7 January 1913 in La Tribuna<\/em>\u2014a piece met, as we know, with scepticism, if not outright irritation, from readers, nearly costing him his place at the paper. In it, Ram\u00f3n writes:<\/p>\n\u201cThe greguer\u00eda<\/em> conjugates the verb like nothing else; it dialogues, it shouts, it murmurs, it falls silent, it makes a precise gesture with the hand or the nose, it creates a graffiti like those children draw on house walls or fences; it hints at a theme, reaches for the paintbox and adds a brushstroke\u2014just one, but enough, and it must<\/em> suffice; it abhors rigidity, fanaticism, clich\u00e9; it has space for drama, comedy, the puppet theatre, verse, anecdote, politics, the city and, above all, for woman, who is fragmentary and so greguer\u00eda<\/em>-like; it is the journalistic genre that simplifies the chronicle, which, at its most bloated, is merely an inflated, puffed-up, obese greguer\u00eda<\/em>; and in print, it has the flexibility demanded by modern machines. Amidst all this hullabaloo, its acrobatics, oversights, puerilities, its tragicomic jests, it must maintain a rigorous internal rhythm which, though not outwardly apparent, underpins and sustains its peculiar nature, lending unity to its landscape and its flesh\u201d.<\/p>\nThe references to visuality and to graffiti\u2014the kind \u201cchildren draw\u201d (he might equally have said \u201cillustrate\u201d)\u2014as well as to the paintbox and brushstrokes, are highly revealing. They suggest that Ram\u00f3n already sensed these brief literary pieces carried a visual, plastic quality which might be rendered graphically. At the time, however, he did not yet link this with drawing. I have shortened the quotation here, but in any case, one cannot grasp the essence of avant-garde languages without acknowledging the centrality of image. Ram\u00f3n\u2019s prose unmistakably privileges the image. He was\u2014undeniably\u2014a forerunner and beacon of the avant-garde, as many recognised in his own time. It is hardly surprising, then, that he should cultivate both literary and graphic imagery in keeping with his multifaceted and multi-stylistic worldview.<\/p>\n
To close this thread connecting text, image, and drawing, let us recall a greguer\u00eda<\/em> published on 29 June 1914, also in La Tribuna<\/em>: \u201cWhen passing the razor over the strop one feels the unlikely fear that one’s arm might slip and cut through the chest, bevelling it. The fear of the razor and its immense effectiveness has no equal; perhaps only that firearm with the ‘Maxim silencer’\u2014that American device, banned from sale, which muffles the sound of shots\u2014might compare on certain nights\u201d. In his 1917 book Greguer\u00edas<\/em>, Ram\u00f3n excised the reference to the firearm, stripping the piece of extraneous elements and leaving only the powerful image of the razor and strop.<\/p>\n\u00abRam\u00f3n did not illustrate or draw this greguer\u00eda<\/em>, but I believe Luis Bu\u00f1uel did so, at another graphic level\u2014specifically the cinematic one\u2014in the “prologue of the slashed eye” in the film he created with Salvador Dal\u00ed,\u00a0El perro andaluz\u00a0<\/em>(1929)\u00bb<\/p><\/blockquote>\nTo my knowledge, Ram\u00f3n did not illustrate or draw this greguer\u00eda<\/em>, but I believe Luis Bu\u00f1uel did so, at another graphic level\u2014specifically the cinematic one\u2014in the “prologue of the slashed eye” in the film he created with Salvador Dal\u00ed, El Perro andaluz<\/em> (1929). If we substitute the breast for the eye, we can grasp the potential visual power contained in, and indeed emanating from, Ram\u00f3n\u2019s greguer\u00edas<\/em> (of which this is one example)\u2014a power that Bu\u00f1uel was able to transform, in that film, into an unforgettable and disturbing image.<\/p>\nGuillermo de Torre, in his Literaturas europeas de vanguardia<\/em> (1925), noted that Ram\u00f3n discovered the formula for \u201cvisual atomisation\u201d, which allowed him to \u201cstrip things of their pomp, sow smiles, and untangle ideas, gestures, and objects that had remained motionless\u201d. He also associated Ram\u00f3n\u2019s prose with a picturesque quality and a somewhat troubadour-like approach. More recently, Agust\u00edn S\u00e1nchez Vidal described the greguer\u00eda<\/em> as \u201ca bridge between metaphor, close-up, and gag\u201d, a characterisation taken up by Rom\u00e1n Gubern, who observed that \u201cmany of Ram\u00f3n\u2019s greguer\u00edas<\/em> suggest dazzling exercises in cinematic montage\u2014only realised through words\u201d.<\/p>\nWithout doubt, Ram\u00f3n\u2019s words contain a latent graphic image. He was deeply interested in popular graphic and textual forms that fuse text and image inseparably, such as Aleluyas<\/em>. Later, in 1947, in Trampantojos<\/em>, Ram\u00f3n announced that he was publishing for the first time in book form a series of Greguer\u00edas ilustradas<\/em>\u2014some of which had already appeared in periodicals, Blanco y Negro<\/em> in particular\u2014\u201cclarified by drawings of my own pen, whether or not they bear my R signature, and which, naturally, are not intended to compete with professional artists\u201d. The book\u2019s title refers, as we know, to a pictorial genre designed to deceive (and delight) the eye. At a certain moment, Ram\u00f3n realised he could complement his prose with his own drawings. This insight, combined with his consistent engagement with art criticism, led him to sketch a poetics of this humorous and self-referential role as his own illustrator\u2014an aspect I explore in Ram\u00f3n dibujante. El l\u00e1piz atrevido<\/em>.<\/p>\nHave you written a book of art criticism?<\/strong><\/p>\nThis question surprises me for several reasons\u2014I had not quite considered the possibility. In truth, perhaps I am now channelling a dimension of myself cultivated many years ago, and recently recalled by Juan Manuel Bonet in reference to my book Ram\u00f3n y Pombo (libros y tertulia 1915\u20131957)<\/em>, where he writes: \u201cEduardo Alaminos was a combative young art critic who accompanied artists such as Carlos Alcolea, Nacho Criado, Zaj Juan Hidalgo, Jos\u00e9 Mar\u00eda Mezquita and Santiago Serrano, among others. We crossed paths then at Buades, PPROPAC, Arte\/facto and other scenes of a Madrid undergoing rapid transformation\u201d.<\/p>\n\u00abWherever we open Ram\u00f3n dibujante. El l\u00e1piz atrevido<\/em>, the reader will encounter highly specific observations concerning formal resources, composition, graphic treatment, \u201cstyle\u201d, subjects and themes, along with comments on the zigzagging poetics that Ram\u00f3n developed around this activity of\u00bb<\/p><\/blockquote>\nIt may be, indeed, that what emerges throughout this book\u2014focused on Ram\u00f3n\u2019s drawings\u2014is the need to carry out an inventory and catalogue raisonn\u00e9<\/em> of his graphic work. And I do mean raisonn\u00e9<\/em>, even though that term is usually reserved for established artists. For this is no minor strand of Ram\u00f3n\u2019s output. Perhaps, in my case and at the time I wrote the book, it had more to do with my profession in the field of museums and the artistic or documentary collections I have worked with.<\/p>\nWherever we open Ram\u00f3n dibujante. El l\u00e1piz atrevido<\/em>, the reader will encounter highly specific observations concerning formal resources, composition, graphic treatment, \u201cstyle\u201d, subjects and themes, along with comments on the zigzagging poetics that Ram\u00f3n developed around this activity of his and gradually expressed over time. I am fully aware, however, that producing a complete\u2014and, why not, raisonn\u00e9<\/em>\u2014catalogue of his drawings would require a team of collaborators willing to tackle the many challenges such a task entails. At the same time and in the same spirit, I am also conscious that this book represents a step in that direction.<\/p>\nWhich is your favourite book by Ram\u00f3n, and why?<\/strong><\/p>\nI have a particular fondness for two of Ram\u00f3n\u2019s books: El Rastro<\/em> and Automoribundia (1888\u20131948)<\/em>, although the ones I have reread most frequently are those devoted to his Pombo gathering. El Rastro<\/em> is a unique and fascinating book, open to multiple interpretations\u2014including that of Ram\u00f3n\u2019s own psyche\u2014while also being a fundamental work within the bibliography on Madrid. It is a marvellous inventory-book and, to borrow Ram\u00f3n\u2019s own expression, \u201ca bucketful of images\u201d. As I pointed out in my book devoted to Ram\u00f3n\u2019s studies, it is also a diagnostic book that suggests \u201cRam\u00f3n\u2019s psychological anxiety about objects\u201d.<\/p>\nI believe it also contains a proto-Joycean quality\u2014avant la lettre<\/em>\u2014and is, of course, an immediate precursor of surrealism through its poetic exploration of a fascinating objectual heterogeneity: \u201cobjects that never yield to thought\u201d, as Ram\u00f3n once put it. At the same time, it remains deeply rooted in realist literature (or \u201cinfra-realist\u201d, to use Ortega\u2019s term) and, why not say it openly, in the tradition of costumbrismo<\/em>, offering a deeply penetrating gaze into social types and customs.<\/p>\nTo paraphrase Neil MacGregor, it is A History of Madrid in 100 Objects<\/em>. And Automoribundia<\/em> is Ram\u00f3n in his purest form: not only a splendid memoir, but also the novel of an artist and an evocation of another era.<\/p>\nIn 2014, you were responsible for the installation of Ram\u00f3n G\u00f3mez de la Serna\u2019s study. What was that experience like? How did the idea come about?<\/strong><\/p>\nThe installation of Ram\u00f3n\u2019s study was the result of the Museological Plan I undertook at the time to reorganise the contemporary art collections then held by the Museo de Arte Contempor\u00e1neo de Madrid (MAC). I have always regarded Ram\u00f3n\u2019s study on two levels: as a significant, key and essential item of Madrid\u2019s historical and artistic heritage, and as an expressive correlative of the avant-garde in Madrid, which Ram\u00f3n G\u00f3mez de la Serna so vividly embodied. Based on these premises, I wanted to endow the MAC with a singular piece that would both identify the museum and give it a distinct character within the broader context of Madrid\u2019s other museums. Something akin to its identity card.<\/p>\n
\u00abI have always regarded Ram\u00f3n\u2019s study on two levels: as a significant, key and essential item of Madrid\u2019s historical and artistic heritage, and as an expressive correlative of the avant-garde in Madrid\u00bb<\/p><\/blockquote>\n
I feel it is fitting to acknowledge here and now the architects Vicente Pat\u00f3n (\u2020) and Alberto Teller\u00eda, and the Serrano brothers, graphic designers\u2014especially Carlos (who also designed my book Los Despachos de Ram\u00f3n G\u00f3mez de la Serna. Un museo port\u00e1til \u201cmonstruoso\u201d<\/em>)\u2014thanks to whom we produced an image of the study markedly different from previous iterations. This included, for instance, the structural layout of the space, which, and this is something I mention for the first time, was based on the idea I had of starting with a folding screen, an object with a highly significant iconographic role in Ram\u00f3n\u2019s objectual and visual universe. We also included, on the external side of the structure, phrases by Ram\u00f3n himself referring to his studies, extracted from Automoribundia<\/em>. Around the study, we created a more complex surrounding area, including a video with cinematic references and testimonies about both the study and Ram\u00f3n himself, reproductions of his drawings, a space devoted to Pombo designed as a small salon for talks and lectures, and another area for cabinet exhibitions on Ram\u00f3n-related themes.<\/p>\nIn the latter space, I curated the exhibitions Ram\u00f3n: \u201cCon la pluma del escritor est\u00e1n hechos estos dibujos\u2026\u201d<\/em> and La Suite Senefelder & Co. de Eduardo Arroyo visita el despacho de Ram\u00f3n G\u00f3mez de la Serna<\/em>.<\/p>\nYou were Director of the Museo de Arte Contempor\u00e1neo de Madrid at Conde Duque between 2001 and 2014. What are your fondest memories from that period?<\/strong><\/p>\nFirst and foremost, I take pride in having succeeded in putting a local contemporary art museum on the map in Madrid\u2014on a par with the city\u2019s two other local museums: the Museo de Historia (formerly the Municipal Museum, dedicated to Madrid\u2019s historical collections), and the Museo de San Isidro (focused on the city\u2019s archaeological collections). In a city such as Madrid, home to major museums of diverse typologies, maintaining an ambitious programme over time\u2014with extremely limited resources\u2014of both acquisitions and permanent exhibitions (each with their respective catalogues), as well as temporary exhibitions (also each with its own catalogue), was no small feat. And of course, the personal relationships formed along the way were also deeply meaningful.<\/p>\n
This passage of yours caught my attention: \u201cCould one speak of a certain Franciscanism of the discarded and the useless, of the nearly unrecoverable? I believe so\u201d (p. 131). Could you tell us a bit more about that?<\/strong><\/p>\nI recall having already hinted at this in my book Los Despachos de Ram\u00f3n G\u00f3mez de la Serna. Un museo port\u00e1til \u201cmonstruoso\u201d<\/em> (2014), when referring to a review published in El Noroeste<\/em> in October 1923 on the occasion of a lecture Ram\u00f3n gave on streetlamps. The reviewer observed how \u201cthrough Ram\u00f3n\u2019s heartfelt words, a deep fervour for humble things was evident\u201d. Following that quote, I wrote: \u201cas if to underline a certain Franciscanism\u201d, and immediately wondered whether Ram\u00f3n might have read Chesterton\u2019s book on Saint Francis of Assisi, translated by Rivas Cherif during those same years.<\/p>\nNow, in my book on Ram\u00f3n as draughtsman, I go somewhat further\u2014indeed, significantly further\u2014and suggest that his early appreciation of humble and useless things, which he discerned in the context of a shifting historical cycle ushering in modernity and its new objects and designs, and which he delighted in describing during his wanderings through the various Rastros1<\/sup><\/em> he frequented, might be seen as a precursor to the arte povera<\/em> defined by the Italian critic Germano Celant in the 1960s.<\/p>\nRam\u00f3n had a vital disposition to preserve many of these humble objects through both the written word and drawing. As an example\u2014aside from his book El Rastro<\/em>\u2014we might consider what he wrote to the pombianos<\/em> in his Segundo Viaje a Portugal<\/em> about the \u201cfeira da Ladra\u201d, Lisbon\u2019s Rastro<\/em>: \u201cOf course, nothing can surpass the Rastro<\/em> [of Madrid]; but the \u2018feira da Ladra\u2019, the Rastro<\/em> here, is quite something. It also sprawls along a slope, for the supreme dump of each city, its Rastro<\/em>, must be arranged thus, on an incline [\u2026]. Amid the revolutum<\/em> of all the strange objects that can only be found at the Rastros<\/em>, one finds that object which is its own attribute and which is never banal, for it would be natural to encounter the banal everywhere.Rastro<\/em>\u201d.<\/p>\nOr indeed his interest in the modest signs and commercial advertisements in cities, which he compiled\u2014both textually and graphically\u2014like an urban ethnographer, as I have discussed in my article Ram\u00f3n y la \u2018anunciograf\u00eda\u2019<\/em> (in Calle del Aire. Revista de literatura<\/em> 4, 2022).<\/p>\n\u00abI have always thought that the writer I would most have liked to meet is Miguel de Cervantes, along with the Madrid of his time\u00bb<\/p><\/blockquote>\n
Will you continue with Ram\u00f3n? Will you delve deeper into Ramonismo?<\/strong><\/p>\nMy cycle of reading and studying Ram\u00f3n is coming to an end. I am currently preparing one final piece of writing on the study, and I believe that with it I will close the circle.<\/p>\n
What would you say to Ram\u00f3n G\u00f3mez de la Serna if he were standing in front of you by chance in a caf\u00e9?<\/strong><\/p>\nI have always thought that the writer I would most have liked to meet is Miguel de Cervantes, along with the Madrid of his time. But if I had the opportunity to meet Ram\u00f3n, not in just any caf\u00e9 but at his Pombo gathering, I would not wish so much to speak with him directly as to listen to everything that was said there\u2014by him and by the other pombianos<\/em> and attendees; the recto and verso of all that was spoken. That would have been my ideal book on Ram\u00f3n: the faithful transcription of everything discussed each Saturday at the Caf\u00e9 and at the Pombo gathering.___<\/p>\n
1<\/sup> flea market<\/p>\nSource:\u00a0educational EVIDENCE<\/strong><\/p>\nRights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"Eduardo Alaminos L\u00f3pez (Madrid, 1950) holds a degree in Philosophy and Arts and a Master’s in Museology from the Complutense University of Madrid. He has just published an original work: “Ram\u00f3n dibujante. El l\u00e1piz atrevido” (Ediciones Ulises), the latest fruit of a life devoted to the author of “El due\u00f1o del \u00e1tomo”.<\/p>\n","protected":false},"author":4,"featured_media":28282,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[268],"tags":[3090,3092,612,3091],"class_list":["post-28359","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanities","tag-eduardo-alaminos-en","tag-madrid","tag-ramon-gomez-de-la-serna-en","tag-ramon-of-pombo"],"yoast_head":"\n
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