El Hombre que rayaba periódicos. (El Periódico)
The man who scratched newspapers. (The newspaper)
Eduardo Torres affirms that a rayado is "a piece of newspaper duly crossed out from which phrases, reflections or poetry of a heterogeneous nature are derived". We do not know when he conceived exactly or why, this work, infinite and continuous that he has been developing for several years on scraps of newspapers linking words that otherwise would not interact. What we do know is that on October 30, 2013 is when it appears published in the blog Elhombrequerayabaperiodicos, the first scratched of this peculiar creative journey and that said the following: "to the signs capable of piercing pleasure". Since then he has published more than 1,200 scratchings in the aforementioned blog and has published three books: a compilation by Apeadero de Aforistas, El hombre que rayaba periódicos (2020); a self-publication with the collaboration of the artist Rosa Neutro illustrating the volume Hace tiempo y a menudo y sin embargo imposible (2019); and another self-publication, his first book, Eduardo Torres. El hombre que rayaba periódicos (2016), now out of print. He has also participated in the group exhibition Todo arte es falso hasta que se demuestre lo contrario, (2014) at the Estudio 22 gallery in Logroño. A little more than three years after that first scratching appeared, in December 2016 the first self-published book, which we already named, was presented at the Numax bookstore in Santiago de Compostela, making the presentation Chus Villar who officially reveals that Eduardo Torres is the alter ego or a sort of heteronym of Rosendo Cid. We allow ourselves to doubt such a statement and we harbor the theory that Eduardo Torres is a real person who hides behind Rosendo Cid, mask of our real protagonist, as an optimal way to hide. Theories aside, which have not been denied or confirmed, it is now when what was clearly obligatory to materialize finally appears, that is, a newspaper of El hombre que rayaba periódicos: 8 pages dotted with 84 scratches that the Galería Nordés has lent itself to produce and which we have no doubt will be a pleasant read for all admirers of such an ineffable character.
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