Agustín Espinosa. El movimiento de una recepción

Abstract

This article studies the reception of Agustín Espinosa’s work after the 1974 reissue of Lancelot, 28°-7° (1929), Media hora jugando a los dados (1933) and Crimen (1934). The most important contributions and the critical perspectives adopted are shown. The peculiar adoption by Espinosa of cubist and surrealist aesthetics and positions is also dealt with. The basic perspective of this work is Henri Bergson’s conception of durée, also readapted by scholars such as Vladimir Jankélévitch and, especially, by Georges Sebbag in the field of surrealism and philosophy. For Espinosa, analogy, duration and memory constitute a way of interpreting the culture of the past and the present. Agustín Espinosa’s durée from 1974 to the present has to do with his choices and with what was inscribed in his words as continuity of a work and a position before culture. The “Bergsonian opening” of his reception shows the incidence of his choices during the last decades of the 20th century and the first decades of the 21th century