Abstract
The purpose of this article is to unveil the gesture of rewriting as an exercise of sign translation, which is presented as one of the territories of radicant writing in the works El libro de Tamar by Tamara Kamenszain and Tratado de arqueología peruana by Roberto Zariquiey. For this purpose, it has been decided to guide the research through a comparative literary study of the corpus, which is achieved based on the definition offered by Nicolas Bourriaud on contemporary art in his book The Radicant (2009). In these works we identify an incursion into that “translation-oriented modernity” that Bourriaud himself proposes, since the acts of appropriation that are developed constitute a translation of past voices, which help to clear the signs of previous passages that are contained in hermetic archives, in order to build the present from them.
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