Abstract

In the following pages we reflect on Enrique Linh's book Derechos de autor (1981), one of the key poetic texts of the Chilean neo-avant-garde and his artistic proposal. From an inter-artistic theoretical perspective, we examine issues such as the legibility of the manuscript, its iconotextual character, the curatorship of the archives, their assembly, as well as the hatching and erasure as procedures for making visible. This task will help us understand the critical exercise of the art system as well as the literary system carried out by the Chilean poet, who permanently seeks the fall of closed disciplinary models. In the case of Derechos de autor... it seems that the act of decoding does not matter in the face of the monumentality of the plastic project that the manuscript and its manufacture signify, a relevant element because it determines a change of role in the reader, who becomes a reader/spectator.