Although the text seems anonymous, the author was Clemente Padín (b. 1939) an experimental poet, graphic designer, and performer who formed the Uruguayan group of artists known as Los Hachepientos, and who published a manifesto that disseminated their ideas and that carried the same name as the group. In 1965, Padín began publishing and editing the magazine Los Huevos del Plata with Héctor Paz, Juan José Linares, and Julio Moses as a counterweight to the “editorial monopoly” held by the so-called group, Generation of '45, consisting of the writers, Mario Benedetti, Idea Vilariño, and Ángel Rama, among others. Sixteen issues were published over three years. The aim of the publication was to reject the prevailing sentiments with regard to literature, the cultural society at the time, and the investigation of new experimental poetic tendencies, such as spatialism, concretism, and visual poetry, including even the Surrealist poets. In 1969, after the magazine ended its publication, Padín continued editing and publishing another magazine named OVUM 10 where he would define visual aesthetics similar to the kind that poets such as those employed by the French poet Guillaume Apollinaire (1880–1918), the Mexican poet Juan José Tablada, the Spaniard Guillermo de Torre (1900–1971), the Catalán poet Joan Salvat-Papasseit (1894–1924), the Hispanic Cuban poet Francis Picabia (1897–1953), and the Portuguese poet Mario de Sá-Carneiro (1890–1916). The slogan for OVUM was: “Anyone who cries differently, will be one of ours, because what fails here are structures, schematic expressions, garbage (...).” [Please refer to the ICAA digital archive for the following text: [Manifiesto Grupo Brasileño Maldoror] (doc. no. 1243177) and “Hachepiencia,” by Clemente Padín y Francisco Gómez Agudelo (doc. no. 1243133)].
