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[Foto: La poeta Betina Edelberg leyendo, por ...]




'Memoranda'


En la hora de la prodiga intemperie

cuando apenas puede preservarme ya una violencia

y de las ráfagas de humillación,

y de las palabras detenidas en su naufragio

o sea esto que me digo

y lo que he de decirme todavía

y lo que profiere la encendida vigilia de la mentira.

Cuando es necesario rescatar algo

del desordenado dibujo de este mundo,

no una engañosa versión de nuestra dicha,

no el persuasivo pasto del buen sentido

borrando el estrépito de tanto dolor

y el paisaje de esta pesadilla,

no la indiferencia,

no la lenta corrosión del olvido,

Cuando solo me queda no volverme

y aceptar una larga mirada,

porque nada ha de impedirme

esta pobreza de siempre.

Todavía el agua, el aire, todavía la tierra

y este despegue de seguir siendo

y de salvarse.


Betina Edelberg


About Roee Suffrin


“As I reflected on the distant works of Roee Suffrin, which reach me through the transcription of a machine, I asked myself: what will happen to the cards, texts and images which undergo a long cybernetic voyage? Will they survive over time? Will their true authenticity, materiality, intangible reality be replaced? Will there be no more letters, old manuscripts, old hoarded books, vulnerable to the aging of paper? What will happen to the trips to museum and private exhibitions open only for a certain period? And art galleries? And concerts performed just once and engraved in musical images? Will they get lost, victims of the vertiginous evolution of the technological media?

I am a very visual person, someone told me that my poetry is also visual; now, as I reflect on the paintings of Roee Suffrin, I feel that the process of their creation was born like a poem: a brief image, a title (sometimes there isn’t one), an allusion, a theme, a challenge, like the remnants of sleep, ideas, propositions which we abandon.

Creations are a way of communicating with unknown persons who will accept or reject us.

Suffrin sometimes asks us to decipher his paintings. I was particularly drawn to his incomplete figures which enable us – those who reflect – to imagine what happens next, like guessing games or puzzles; his paintings express an interchange between distinct realities and objects ( the painting of the woman sitting besides the reality of familiar furniture).

I was also very drawn by the perfect delineation of the voluptuous and very personal silhouettes of the two women, the different styles he uses to communicate his message, and was surprised by the unexpected ideas he conceives to decorate children’s rooms.

Suffrin also expresses himself through the silence and solitude that are felt in some of his works and in his fragmented images of a branch or warrior’s trapping.

These comments, perhaps, do not fully express what I feel towards this distant painter who has led me to see things differently. Roee Suffrin may see them as a profanation.

I hope that I will have the opportunity of meeting the artist and his works in an exhibition in Buenos Aires.”

Betina Edelberg



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Escuche aquí Betina Edelberg entrevistada en Radio Nacional de Argentina, hablando de Borges, su Madre, las mujeres y sus Amigos