{"id":5727,"date":"2024-04-08T15:25:35","date_gmt":"2024-04-08T13:25:35","guid":{"rendered":"https:\/\/lascriticas.com\/?p=5727"},"modified":"2024-04-08T19:16:22","modified_gmt":"2024-04-08T17:16:22","slug":"huaco-retrato-de-gabriela-wiener","status":"publish","type":"post","link":"https:\/\/lascriticas.com\/index.php\/2024\/04\/08\/huaco-retrato-de-gabriela-wiener\/","title":{"rendered":"Huaco retrato, de Gabriela Wiener"},"content":{"rendered":"

Huaco retrato, de Gabriela Wiener<\/span><\/p>\n

Deshilvanar la<\/span><\/span> genealog\u00eda <\/span><\/span>y <\/span><\/span>atar los cabos<\/span><\/span><\/span><\/h1>\n

Deshilvanar <\/span><\/span>un<\/span><\/span> hilo <\/span><\/span>geneal\u00f3gico<\/span><\/span> c<\/span><\/span>onvocando en el mismo libro <\/span><\/span>un tatarabuelo huaquero<\/span><\/span> austr\u00ed<\/span><\/span>aco<\/span><\/span> \u2013 <\/span><\/span>alto representante del colonialismo<\/span><\/span> arqueol\u00f3gico de los principios del siglo XX<\/span><\/span> – <\/span><\/span>, <\/span><\/span>y<\/span><\/span> su bisnieta <\/span><\/span>peruana de perfil preincaico <\/span><\/span>\u2013 \u201c<\/span><\/span>descolonizada<\/span><\/span>\u201d<\/span><\/span> por<\/span><\/span> un <\/span><\/span>da<\/span><\/span>l<\/span><\/span>do de cristal movido por una mulata de Baranquilla<\/span><\/span>–<\/span><\/span>, tal es <\/span><\/span>la nueva haza\u00f1a de Gabriela Wiener<\/strong>. H<\/em><\/span><\/span>uaco retrato <\/span><\/span><\/em>es una<\/span><\/span> empresa general y vertiginosa de <\/span><\/span>descolonizaci\u00f3n cultural y <\/span><\/span>sexual.<\/span><\/span><\/span><\/p>\n

\"\"<\/p>\n

As\u00ed<\/span><\/span> como en <\/span><\/span>Sexograf\u00edas<\/span><\/span><\/em> (<\/span><\/span>2008)<\/span><\/span>\u00a0y <\/span><\/span>Nueve Lunas <\/span><\/span><\/em>(<\/span><\/span>2021<\/span><\/span>, edici\u00f3n <\/span><\/span>revisada y ampliada)<\/span><\/span>,<\/span><\/span> e<\/span><\/span>l lector sigue <\/span><\/span>las<\/span><\/span> andanzas<\/span><\/span> de la narradora, temiendo perderla<\/span><\/span> de vista en cada vericueto de <\/span><\/span>su<\/span><\/span> itinerario picaresco <\/span><\/span>a trav\u00e9s del espacio y del tiempo.<\/span><\/span> De libro en libro, el m\u00e9todo Wiener sigue <\/span><\/span>igual<\/span><\/span>, descansando en <\/span><\/span>una mezcla de <\/span><\/span>indagaciones, pesquisas<\/span><\/span>, <\/span><\/span>cavilaciones<\/span><\/span> y extrapolaciones <\/span><\/span>subjetivas: <\/span><\/span>\u201c<\/span><\/span>intento componer con restos extraviados e inmateriales, estableciendo diacron\u00edas caprichosas<\/span><\/span>\u201d.<\/span><\/span> As\u00ed <\/span><\/span>utiliza todos los recursos<\/span><\/span> :<\/span><\/span> fragmentos de lecturas, contactos <\/span><\/span>telef\u00f3nicos,<\/span><\/span> emails <\/span><\/span>con especialistas (un tal Pascal Riviale), <\/span><\/span>entrada<\/span><\/span>s<\/span><\/span> al<\/span><\/span> grupo privado <\/span><\/span>Facebook de la familia Wiener, poes\u00edas<\/span><\/span> tal y como <\/span><\/span>la maravillosa <\/span><\/span>Panchilandia<\/span><\/span> del final<\/span><\/span>, cartas de <\/span><\/span>su <\/span><\/span>madre <\/span><\/span>dirigidas a ella<\/span><\/span>, <\/span><\/span>e<\/span><\/span>mails del padre difunto<\/span><\/span>\u2026 <\/span><\/span>se entrecruzan formando <\/span><\/span>un<\/span><\/span> tejido narrativo<\/span><\/span> heterog\u00e9neo<\/span><\/span>. <\/span><\/span><\/span><\/p>\n

El libro se abre en u<\/span><\/span>na visita al museo parisino del Quai Branly<\/span><\/span>, cumbre del arte primitivo, <\/span><\/span>donde <\/span><\/span>queda expuesta<\/span><\/span> la colecci\u00f3n de huaco<\/span><\/span>s de Charles Wiener<\/span><\/span> (<\/span><\/span>1851 – 1913<\/span><\/span>)<\/span><\/span>. <\/span><\/span>Si el<\/span><\/span> recorrido entre los <\/span><\/span>diferentes objetos puestos en escena <\/span><\/span>reactiva <\/span><\/span>por una parte <\/span><\/span>la cuesti\u00f3n de los v\u00ednculos de parentesco <\/span><\/span>entre la visitante y <\/span><\/span>el <\/span><\/span>arque\u00f3logo, <\/span><\/span>ese \u201c<\/span><\/span>Indiana Jones del mundo Precolombino<\/span><\/span>\u201d, <\/span><\/span>por<\/span><\/span> otra parte <\/span><\/span>desencadena un proceso<\/span><\/span> espont\u00e1<\/span><\/span>neo <\/span><\/span>de<\/span><\/span> i<\/span><\/span>dentificaci\u00f3n con lo <\/span><\/span>ind\u00edgeno <\/span><\/span>: \u201c<\/span><\/span>Mi cara es muy parecida a la de un huaco retrato. Cada vez que me lo dicen me imagino a Charles moviendo el pincel sobre mis parpados para <\/span><\/span>quitarme el polvo y calcular el<\/span><\/span> a\u00f1<\/span><\/span>o en que fui modelada. Entre los huacos, piezas de cer\u00e1micas hecha<\/span><\/span>s<\/span><\/span> a mano, el retrato huaco es el <\/span><\/span>m\u00e1s <\/span><\/span>interesante. Un huaco retrato <\/span><\/span>es la foto carnet prehisp\u00e1nica [\u2026]<\/span><\/span>. La imagen de un rostro ind\u00edgena tan realista que asomarnos a verlo es para muchos como mirarnos en el esp<\/span><\/span>ejo roto de los siglos<\/span><\/span>. Dicho de paso e<\/span><\/span>l retrato h<\/span><\/span>uaco del Per\u00fa nos remite extra\u00f1amente a<\/span><\/span> la <\/span><\/span>m\u00e1scara pasaporte <\/span><\/span>africana<\/span><\/span> de \u00c1frica central antes de la llegada de los europeos<\/span><\/span>. <\/span><\/span>Aquellas m\u00e1scaras s<\/span><\/span>erv\u00edan <\/span><\/span>tanto<\/span><\/span> de ca<\/span><\/span>rnet de ident<\/span><\/span>idad para desplazarse<\/span><\/span> como de indicador de posici\u00f3n <\/span><\/span>social del individuo en la tribu<\/span><\/span>. <\/span><\/span><\/span><\/p>\n

A lo largo de la narraci\u00f3n, la autora vuelve en su doble estirpe y la preeminencia de una sobre otra<\/span><\/span>, <\/span><\/span>es decir <\/span><\/span>de la india sobre la <\/span><\/span>europea:<\/span><\/span> \u201c<\/span><\/span>Ya de ni\u00f1a sab\u00eda que yo ven\u00eda de dos mundos muy diferenciados, el de los Wiener et el de los Bravos [\u2026] mis evidentes rasgos f\u00edsicos, el color marr\u00f3n que me hace india en Espa\u00f1a y \u201ccolor puerta\u201d en Per\u00fa, me hicieron una Bravo m\u00e1s. Cuando vine a vivir a Madrid y supe lo que quer\u00eda decir sudaca no me sorprend\u00ed. En Lima muchas veces hab\u00eda o\u00eddo asociar mi color de piel con el color de la caca<\/span><\/span>.\u201d <\/span><\/span><\/span><\/p>\n

Vaivenes<\/span><\/span> entre la \u00e9poca actual y aquel mundo de entonces llevan al lector a <\/span><\/span>principios de siglo XX <\/span><\/span>donde<\/span><\/span> el viajero cient\u00edfico <\/span><\/span>Carlos Wiener, empedernido saqueador de huacas<\/span><\/span> (<\/span><\/span>\u00a1<\/span><\/span>se habr\u00e1 llevado m\u00e1s de 4<\/span><\/span> 000 piezas<\/span><\/span> precolombinas<\/span><\/span>!), <\/span><\/span>acaba volvi\u00e9ndose <\/span><\/span>el resucitador del imperio inca<\/span><\/span>, <\/span><\/span>casi<\/span><\/span> su <\/span><\/span>salvador. <\/span><\/span>Hojeando el libro de Wiener<\/span><\/span>, <\/span><\/span>Per\u00fa y Bolivia<\/span><\/span>, Gabriela Wiener apunta los fragmentos donde el arque\u00f3logo glorifica el pasado inca a la vez que desprecia al peruano de su \u00e9poca, envilecido seg\u00fan \u00e9l. Hasta tal punto que se compra un indiecito <\/span><\/span>llamado<\/span><\/span> Juan para salvarlo de la barbarie y llev\u00e1rselo <\/span><\/span>a Europa. <\/span><\/span>Y<\/span><\/span> la narradora <\/span><\/span>de <\/span><\/span>comentar<\/span><\/span>: <\/span><\/span>\u201c<\/span><\/span>Nada de este personaje extraviado en su eurocentrismo, violento y atrozmente racista <\/span><\/span>ten\u00eda<\/span><\/span> que ver con lo que soy<\/span><\/span> [\u2026]<\/span><\/span>.\u201d \u00a0S<\/span><\/span>in embargo, a pesar del odio que la <\/span><\/span>bisnieta<\/span><\/span> siente por la empresa de su bisabuelo, consigue establecer puentes y conectarse con \u00e9l<\/span><\/span>, hasta sentir cierta <\/span><\/span>empat\u00eda <\/span><\/span>\u201c<\/span><\/span>por su postura involuntariamente antiacad\u00e9mica y eg\u00f3latra<\/span><\/span>\u201d<\/span><\/span>. <\/span><\/span>M\u00e1s<\/span><\/span> all\u00e1<\/span><\/span> de lo<\/span><\/span>s <\/span><\/span>v\u00ednculos <\/span><\/span>sangu\u00edneo<\/span><\/span>s<\/span><\/span>, <\/span><\/span>otro proceso de identificaci\u00f3n <\/span><\/span>totalmente inesperado <\/span><\/span>(los vericuetos de Gabriela Wiener<\/span><\/span> nunca <\/span><\/span>acaba<\/span><\/span>r\u00e1<\/span><\/span>n de sorprendernos<\/span><\/span>\u2026.<\/span><\/span>) <\/span><\/span>se elabora<\/span><\/span> a pesar suyo : \u201c<\/span><\/span>me muevo por sus <\/span><\/span>p\u00e1ginas<\/span><\/span> como por un laberinto de espejos versallescos. Se revela <\/span><\/span>as\u00ed<\/span><\/span> un puente ahora invisible entre nosotros, uno que atraviesa la historia, lo que somos y no fuimos para cada uno, lo que no nos atrevimos a ser, algo que se llama impostura.<\/span><\/span>\u201d<\/span><\/span> A partir de cierto momento, Huaco r<\/em><\/span><\/span>etrato<\/em>\u00a0<\/span><\/span>opera un movimiento pendular<\/span><\/span>, yendo del r<\/span><\/span>echazo<\/span><\/span> total<\/span><\/span> a la b\u00fasqueda de semejanzas\u2026 <\/span><\/span>hasta la comprensi\u00f3n. <\/span><\/span>As\u00ed<\/span><\/span> el tema de la desnudez<\/span><\/span>, recurrente en la obra de Gabriela Wiener,<\/span><\/span> re\u00fane <\/span><\/span>al bisabuelo y su <\/span><\/span>bisnieta: <\/span><\/span>\u201c<\/span><\/span>Su autorretrato vital, la del narcisista obsesionado con el \u00e9xito, es tan imp\u00fadico que no necesita estar desnudo.<\/span><\/span> Cu\u00e1<\/span><\/span>ntas veces me han preguntado sobre el desnudamiento en mis libros, por qu\u00e9 solo escribo sobre <\/span><\/span>m\u00ed<\/span><\/span>\u2026<\/span><\/span>\u201d<\/span><\/span> Una explicaci\u00f3n muy su<\/span><\/span>til <\/span><\/span>asoma paulatinamente. <\/span><\/span>La autopromoci\u00f3n de uno mismo, <\/span><\/span>sobre todo cuando ese uno mismo es estigmatizado<\/span><\/span> (<\/span><\/span>de un lado<\/span><\/span> Charles Wiener<\/span><\/span> por ser<\/span><\/span> un<\/span><\/span>jud\u00edo austr\u00ed<\/span><\/span>ac<\/span><\/span>o<\/span><\/span>, <\/span><\/span>del otro lado <\/span><\/span>Gabriela<\/span><\/span> Wiener<\/span><\/span>, <\/span><\/span>por ser una sudaca <\/span><\/span>de color marr\u00f3n<\/span><\/span>) <\/span><\/span>descansa en <\/span><\/span>la b\u00fasqueda de <\/span><\/span>\u201c<\/span><\/span>inmunidad<\/span><\/span>\u201d<\/span><\/span>.<\/span><\/span> As\u00ed l<\/span><\/span>ejos de ser un libro<\/span><\/span> dogm\u00e1tico<\/span><\/span>, Huaco r<\/em><\/span><\/span>etrato <\/span><\/span><\/em>no deja de <\/span><\/span>rebos<\/span><\/span>a<\/span><\/span>r<\/span><\/span> de matices. <\/span><\/span><\/span><\/p>\n

Entre los muchos temas re<\/span><\/span>bajados (como el poliamor<\/span><\/span>)<\/span><\/span>, <\/span><\/span>cabe subrayar <\/span><\/span>tambi\u00e9n <\/span><\/span>el de la <\/span><\/span>violencia del robo arqueol\u00f3gico en la que descansan museos occidentales<\/span><\/span>. <\/span><\/span>Ese <\/span><\/span>t<\/span><\/span>ema <\/span><\/span>tan delicado es<\/span><\/span> muy actual a la hora de la restituci\u00f3n <\/span><\/span>por museos europeos <\/span><\/span>de <\/span><\/span>enseres robados<\/span><\/span>. <\/span><\/span>Hasta la <\/span><\/span>funci\u00f3n de los museos etnogr\u00e1ficos<\/span><\/span> es puesta en tela de juicio<\/span><\/span> con esa frase <\/span><\/span>sumamente<\/span><\/span> acertada <\/span><\/span>(\u00a1exquisita!): <\/span><\/span>\u201c<\/span><\/span>Un museo no es un cementerio, aunque se parezca mucho<\/span><\/span>.\u201d <\/span><\/span>El museo como<\/span><\/span> hito de la cultura, del conocimiento y de la <\/span><\/span>conservaci\u00f3n <\/span><\/span>es cuestionado: <\/span><\/span>\u201c<\/span><\/span>Aqu\u00ed las momias no se conservan tan bien como en la nieve<\/span><\/span>\u201d. <\/span><\/span>Verdaderos parques <\/span><\/span>de objetos desplazados<\/span><\/span>, los museos remiten a otros parques, los de<\/span><\/span> seres humanos<\/span><\/span> que Gabriela Wiener describe cuando evoca las e<\/span><\/span>xposiciones coloniales<\/span><\/span> de principios de siglo pasado. <\/span><\/span><\/span><\/p>\n

En<\/span><\/span> fin<\/span><\/span>, habr\u00eda que decir mucho sobre <\/span><\/span>ese ovni que es Huaco retrato<\/em>. Pero si tuviera que destacar algo muy especial seria su dimensi\u00f3n po\u00e9tica : <\/span><\/span>\u201c<\/span><\/span>Sus ojos son esas heridas alegres y tristes que las marrones llevamos en la cara hace siglos. <\/span><\/span>Peque\u00f1os <\/span><\/span>lagos caso orientales en los que tiembla la luz. Me mira intensamente, una especie de ardilla concentrada en su labor de roer el sistema que me posee<\/span><\/span>.\u201d<\/span><\/span> O el <\/span><\/span>tan<\/span><\/span> hermoso<\/span><\/span> \u201c <\/span><\/span>tu reflejo preincaico en un escaparate vac\u00edo<\/span><\/span>\u201d<\/span><\/span>.<\/span><\/span><\/span><\/p>\n

Wiener, Gabriela. Huaco retrato<\/em>. Penguin Random House, 2021.<\/strong><\/span><\/p>\n

\n

Gabriela Wiener <\/span><\/strong>es escritora y periodista peruana. Ha publicado los libros Sexograf\u00edas<\/em>, Nueve lunas<\/em> y poemarios como Ejercicios para el endurecimiento del esp\u00edritu<\/em>. Es una de las voces m\u00e1s interesantes de la literatura latinoamericana hoy. Vive en Madrid.<\/span><\/span><\/p>\n

Acerca de Marie Jammot<\/span><\/strong><\/span><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Huaco retrato, de Gabriela Wiener Deshilvanar la genealog\u00eda y atar los cabos Deshilvanar un hilo geneal\u00f3gico convocando en el mismo libro un tatarabuelo huaquero austr\u00edaco \u2013 alto representante del colonialismo arqueol\u00f3gico de los principios del siglo XX – , y su bisnieta peruana de perfil preincaico \u2013 \u201cdescolonizada\u201d por un daldo de cristal movido por…<\/p>\n","protected":false},"author":9,"featured_media":5747,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43,37],"tags":[98,253,1130,796,250,51,417,154,168,169,53,62,1137,129,298,1138,257],"yoast_head":"\nHuaco retrato, de Gabriela Wiener - Las Cr\u00edticas<\/title>\n<meta name=\"description\" content=\"Marie Jammot escribe acerca de Huaco retrato, novela de la escritora peruana Gabriela Wiener.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/lascriticas.com\/index.php\/2024\/04\/08\/huaco-retrato-de-gabriela-wiener\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Huaco retrato, de Gabriela Wiener - 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