{"id":12288,"date":"2026-04-03T15:20:26","date_gmt":"2026-04-03T15:20:26","guid":{"rendered":"https:\/\/urbe.com.ar\/revista\/?p=12288"},"modified":"2026-04-03T15:20:27","modified_gmt":"2026-04-03T15:20:27","slug":"90-kilos-de-aire","status":"publish","type":"post","link":"https:\/\/urbe.com.ar\/revista\/90-kilos-de-aire\/","title":{"rendered":"90 kilos de aire"},"content":{"rendered":"\n[et_pb_section fb_built=\u00bb1″ disabled_on=\u00bbon|on|on\u00bb _builder_version=\u00bb4.20.0″ disabled=\u00bbon\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row _builder_version=\u00bb4.27.0″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.18.0″ global_colors_info=\u00bb{}\u00bb][et_pb_text disabled_on=\u00bbon|on|on\u00bb _builder_version=\u00bb4.27.6″ text_font=\u00bbTitillium Web||||||||\u00bb custom_padding=\u00bb||28px|||\u00bb disabled=\u00bbon\u00bb global_colors_info=\u00bb{}\u00bb]

Julieta Hermo<\/strong> | \u00bfQu\u00e9 pasa cuando escalar y hundirse son la misma cosa? Marty Supreme no es una pel\u00edcula sobre ping pong: es una pel\u00edcula sobre el deseo, el golpe y la mirada. Este ensayo la usa para preguntarse qu\u00e9 sostiene a alguien en movimiento constante.<\/span><\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00bb1″ _builder_version=\u00bb4.25.1″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_row _builder_version=\u00bb4.25.1″ background_color=\u00bb#ffffff\u00bb background_enable_image=\u00bboff\u00bb custom_margin=\u00bb40px||20px||false|false\u00bb custom_padding=\u00bb12px|0px|12px|0px|true|true\u00bb border_color_left=\u00bb#F2AF46″ global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb4_4″ _builder_version=\u00bb4.25.1″ global_colors_info=\u00bb{}\u00bb][et_pb_text _builder_version=\u00bb4.27.6″ text_font=\u00bbTitillium Web|600|||||||\u00bb text_text_color=\u00bb#000000″ text_font_size=\u00bb18px\u00bb header_text_align=\u00bbcenter\u00bb header_font_size=\u00bb35px\u00bb background_color=\u00bbRGBA(255,255,255,0)\u00bb background_layout=\u00bbdark\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb custom_padding=\u00bb||3px|0px|false|false\u00bb border_color_all=\u00bb#F2AF46″ global_colors_info=\u00bb{}\u00bb]

Artificios<\/strong><\/p>[\/et_pb_text][et_pb_text _builder_version=\u00bb4.27.5″ text_font=\u00bbTitillium Web|300|||||||\u00bb text_text_color=\u00bb#000000″ text_line_height=\u00bb1.4em\u00bb header_font=\u00bb|700||on|||||\u00bb header_text_align=\u00bbleft\u00bb header_text_color=\u00bb#272727″ header_font_size=\u00bb4em\u00bb background_color=\u00bbRGBA(255,255,255,0)\u00bb background_enable_image=\u00bboff\u00bb background_size=\u00bbstretch\u00bb width=\u00bb100%\u00bb module_alignment=\u00bbleft\u00bb min_height=\u00bb71px\u00bb custom_margin=\u00bb3%|0%|3%|0%|true|true\u00bb custom_padding=\u00bb|0%|0px|0%|false|true\u00bb global_colors_info=\u00bb{}\u00bb]

90 kilos de aire<\/h1>[\/et_pb_text][et_pb_text admin_label=\u00bbParrafo 1″ _builder_version=\u00bb4.27.4″ text_font=\u00bbTitillium Web||||||||\u00bb text_text_color=\u00bb#000000″ text_font_size=\u00bb20px\u00bb text_line_height=\u00bb2em\u00bb custom_margin=\u00bb2%|0%|2%|0%|true|true\u00bb custom_padding=\u00bb||0px|||\u00bb text_font_size_tablet=\u00bb17px\u00bb text_font_size_phone=\u00bb16px\u00bb text_font_size_last_edited=\u00bbon|phone\u00bb locked=\u00bboff\u00bb inline_fonts=\u00bbRubik,Alkalami,Titillium Web\u00bb global_colors_info=\u00bb{}\u00bb]
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\u00bfQu\u00e9 pasa cuando escalar y hundirse son la misma cosa? Marty Supreme no es una pel\u00edcula sobre ping pong: es una pel\u00edcula sobre el deseo, el golpe y la mirada. Este ensayo la usa para preguntarse qu\u00e9 sostiene a alguien en movimiento constante.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Por Julieta Hermo<\/strong>
03 de abril de 2026<\/span><\/p>[\/et_pb_text][et_pb_image src=\u00bbhttps:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2026\/04\/banner.webp\u00bb title_text=\u00bbbanner\u00bb align=\u00bbcenter\u00bb disabled_on=\u00bboff|off|off\u00bb _builder_version=\u00bb4.27.6″ background_enable_image=\u00bboff\u00bb custom_margin=\u00bb5%|0%|5%|0%|true|true\u00bb custom_margin_tablet=\u00bb\u00bb custom_margin_phone=\u00bb6%|0%|6%|0%|true|true\u00bb custom_margin_last_edited=\u00bbon|phone\u00bb hover_enabled=\u00bb0″ global_colors_info=\u00bb{}\u00bb sticky_enabled=\u00bb0″][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_2,1_2″ use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1″ make_equal=\u00bbon\u00bb disabled_on=\u00bbon|off|off\u00bb _builder_version=\u00bb4.16″ background_color=\u00bb#ffffff\u00bb custom_margin=\u00bb||||false|false\u00bb custom_padding=\u00bb0px||0px|0%|false|false\u00bb locked=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.16″ background_color=\u00bb#ffffff\u00bb custom_css_main_element=\u00bbwidth: 60% !important;\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_column][et_pb_column type=\u00bb1_2″ _builder_version=\u00bb4.16″ custom_css_main_element=\u00bb||width: 40% !important;||margin: auto;||display: flex;||flex-direction: column;||justify-content: center;\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_code _builder_version=\u00bb4.16″ text_orientation=\u00bbcenter\u00bb module_alignment=\u00bbcenter\u00bb custom_margin=\u00bb2%||2%||true|false\u00bb custom_padding=\u00bb|6.7%||6.7%|false|true\u00bb global_colors_info=\u00bb{}\u00bb]

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<\/blockquote>\n

A Marty Supreme no le llueven pelotas de ping pong.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

Le caen naranjas con su marca impresa, una noche, por la ventana de un departamento del<\/span> Lower East Side. No es un accidente. Es una escena sin borde. En esta intemperie<\/span> luminosa donde toda vida parece ya expuesta, no hay un adentro protegido ni un afuera<\/span> estable. La escena no se abre: ya estaba ocurriendo.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Un auto avanza en l\u00ednea recta por la calle. Se desplaza con la obstinaci\u00f3n de algo que cree<\/span> saber hacia d\u00f3nde va. Todo parece orientado hacia una llegada. Una consagraci\u00f3n que<\/span> nunca termina de decir su nombre.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Hay quienes escalan convencidos de que arriba habr\u00e1 algo o alguien que los premie. Hay<\/span> quienes cavan con la fantas\u00eda de atravesar la tierra y aparecer al otro lado del continente.<\/span> Descubridores de mundos.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Marty escala, escala y se hunde, se hunde. Hay un golpe. Y a partir de ah\u00ed, algo se ordena.<\/span> No como accidente, sino como forma. La ca\u00edda sostiene el movimiento.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Freud, en \u201cPegan a un ni\u00f1o\u201d, sit\u00faa una escena donde el golpe no es mero acto violento sino<\/span> disposici\u00f3n del deseo. Alguien es golpeado para que otro conserve su lugar. La mirada en<\/span> tanto golpe, punt\u00faa. El golpe punt\u00faa. Marca el ritmo de una fantas\u00eda que organiza<\/span> posiciones.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

En el espect\u00e1culo que dispone el empresario, esa l\u00f3gica retorna sin necesidad de<\/span> declararse. No hay exterior desde el cual mirar. Hay una trama de miradas que antecede a<\/span> los cuerpos y los distribuye con precisi\u00f3n. La asimetr\u00eda no desaparece en la exposici\u00f3n<\/span> constante; se vuelve m\u00e1s fina. Marty encarna la ca\u00edda; el empresario la compone desde la<\/span> sombra de la tribuna.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Pero el empresario se angustia por su hijo muerto. Confiesa haber vivido cuatrocientos<\/span> a\u00f1os, haber atravesado demasiadas vidas. No envejece; persiste. Su vampirismo no<\/span> pertenece a lo fant\u00e1stico sino a la repetici\u00f3n: se alimenta de escenas que regresan, de<\/span> haza\u00f1as que se consumen sin dejar sedimento. Ha visto demasiadas ascensiones y<\/span> demasiadas ca\u00eddas para creer en ellas. Y, sin embargo, necesita que ocurran.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Minutos antes del \u201cjuego real\u201d entre Marty y Endo, su hijo muerto, el del empresario, es<\/span> hablado por aquel. Tambi\u00e9n \u00e9l perdi\u00f3. Pero su p\u00e9rdida no produjo gujero. Produjo c\u00e1lculo.<\/span> Una forma m\u00e1s precisa de sostener la escena.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Lacan, en el Seminario 5, al pensar la l\u00f3gica del amo y el esclavo en el obsesivo, se\u00f1ala<\/span> c\u00f3mo la haza\u00f1a puede devenir puro acting: una acci\u00f3n que parece decisiva pero solo<\/span> preserva la posici\u00f3n frente al Otro. El movimiento rodea el deseo sin tocarlo. La proeza<\/span> funciona como demostraci\u00f3n interminable. El amo sostiene; el otro ejecuta. La escena gira.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Marty vive as\u00ed. De experiencia en experiencia. De intensidad en intensidad. La coreograf\u00eda sado-masoquista condensa esa l\u00f3gica: el cuerpo se ofrece, el golpe acontece, la mirada asegura la geometr\u00eda del acontecimiento. No hay esc\u00e1ndalo. Hay precisi\u00f3n. La humillaci\u00f3n<\/span> no deja marca. Deja superficie y ardor.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Todo encaja.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

Todos sirven.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

Falta la falta.\u00a0<\/span><\/p>\n

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Endo, en cambio, pierde la audici\u00f3n y capta el ritmo. All\u00ed donde algo cae, algo vibra. La<\/span> p\u00e9rdida inscribe. La falta hace cuerpo.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Entre tanto, Marty y su amigo corren al lado de un auto que avanza por inercia y cantan:<\/span> \u201cporque peso noventa kilos\u201d. La frase no explica nada. Afirma un peso. Una gravedad que<\/span> no se reduce a imagen. Noventa kilos no son haza\u00f1a: son l\u00edmite. Son suelo. Un suelo que<\/span> no solo no sostiene sino que puede aplastar a quienes est\u00e1n por debajo. Arquitecturas<\/span> accidentales, movimientos.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

La l\u00ednea recta se desv\u00eda apenas. La pelota m\u00ednima \u2014casi un \u00f3vulo\u2014 deja de ser objeto de<\/span> j<\/span>uego. Llega un hijo. El regreso en un avi\u00f3n de guerra, el hero\u00edsmo escenificado: todo podr\u00eda<\/span> seguir perteneciendo a la misma expansi\u00f3n de la escena. Pero el hijo no es coreograf\u00eda. Es<\/span> interrupci\u00f3n.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Ya no se trata de alcanzar altura ni de sostener la ca\u00edda como forma de visibilidad. Se trata<\/span> de desearle una vida a otro. El deseo no ordena el tablero; lo desplaza. Introduce una fisura<\/span> que no se deja absorber con facilidad.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

El empresario ha visto demasiadas vidas para confiar en esa torsi\u00f3n.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

Marty sostiene al hijo y el gesto no encuentra tribuna que lo estabilice. No hay haza\u00f1a<\/span> posible en ese instante. No hay acting que garantice lugar.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Solo el peso leve de un cuerpo que todav\u00eda no conoce el ritmo del juego.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

La monta\u00f1a permanece.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

El pozo tambi\u00e9n.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

El auto contin\u00faa su marcha recta.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

Pero algo ha perdido su certeza.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

El movimiento ya no se sostiene con la misma seguridad.\u00a0<\/span><\/p>\n

<\/span><\/p>\n

En el temblor casi imperceptible de ese gesto \u2014ni triunfo ni derrota\u2014 la escena no se<\/span> clausura.\u00a0<\/span><\/span><\/p>\n

<\/span><\/span><\/p>\n

Queda vibrando.<\/span><\/p>\n

<\/blockquote>\n

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Por Julieta Hermo<\/b><\/p>\n","protected":false},"author":10,"featured_media":12294,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"1080","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[22],"tags":[],"class_list":["post-12288","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pantallas"],"yoast_head":"\n90 kilos de aire - Revista Urbe<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/urbe.com.ar\/revista\/90-kilos-de-aire\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"90 kilos de aire - Revista Urbe\" \/>\n<meta property=\"og:description\" content=\"Por Julieta Hermo\" \/>\n<meta property=\"og:url\" content=\"https:\/\/urbe.com.ar\/revista\/90-kilos-de-aire\/\" \/>\n<meta property=\"og:site_name\" content=\"Revista Urbe\" \/>\n<meta property=\"article:published_time\" content=\"2026-04-03T15:20:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-04-03T15:20:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/urbe.com.ar\/revista\/wp-content\/uploads\/2026\/04\/miniatura-1024x922.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"922\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Alejo Bernhardt\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Revistaurbe_\" \/>\n<meta name=\"twitter:site\" content=\"@Revistaurbe_\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Alejo Bernhardt\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/90-kilos-de-aire\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/90-kilos-de-aire\\\/\"},\"author\":{\"name\":\"Alejo Bernhardt\",\"@id\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/#\\\/schema\\\/person\\\/4ddcf051fa628850264f4c6d61f63ee2\"},\"headline\":\"90 kilos de aire\",\"datePublished\":\"2026-04-03T15:20:26+00:00\",\"dateModified\":\"2026-04-03T15:20:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/90-kilos-de-aire\\\/\"},\"wordCount\":1996,\"image\":{\"@id\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/90-kilos-de-aire\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/urbe.com.ar\\\/revista\\\/wp-content\\\/uploads\\\/2026\\\/04\\\/miniatura.webp?fit=2551%2C2297&ssl=1\",\"articleSection\":[\"PANTALLAS\"],\"inLanguage\":\"es\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/90-kilos-de-aire\\\/\",\"url\":\"https:\\\/\\\/urbe.com.ar\\\/revista\\\/90-kilos-de-aire\\\/\",\"name\":\"90 kilos de aire - 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