ABSTRACT
In the work of Edgardo Cozarinsky, the world is like a living palimpsest. It was by a series of steps, the effort to find European financing for a film and the worsening situation in Argentina, that he understood in retrospect his 1974 move to Paris. Yet he remained outside the reigning cultural fashions, for his work was neither dressed in a colourful exoticism nor did it preach a revolutionary politics, and not fitting such expectations was at times a hindrance for him. Instead, exile became the route that led Cozarinsky to an extensive reflection on the displacements of cultures, the overlapping of experiences in a cosmopolitan space, and how one city may translate into another through any number of passage ways or distorting mirrors. His literal exile became the route that led Cozarinsky to an extensive reflection on the displacements of cultures, the overlapping of experiences in a cosmopolitan space, and how one city may translate into another.
