Starting from the observation that contemporary experimental poetry often involves a social commitment, this article proposes to examine it through the aesthetic concept of autonomy of the arts. Based on the traditional philosophy of art and the theory of French philosopher Jacques Rancière, it argues that there is a concordance between the rupture of the thematic autonomy of the poetic work, and the rupture of its formal autonomy. In order to make this theoretical postulate concrete, it is applied to a corpus of two works by the Chilean poet and visual artist Cecilia Vicuña: the book of poems I tu (2004) and the cinematographic documentary poem Kon Kon (2010). It analyses the conceptual adaptation that links the linguistic and multimedia hybridity and the commitment of these works, with the aim of demonstrating their emancipatory scope.