Bill Viola, ‘escultor do tempo’ – um xamã da imagem
Within the general field of video artist Bill Viola’s work, we propose an approach to the relationship between a visible energy in his videographic image, invested with some kind of “fragment of an existential memory”, and the mnemonic image of Aby Warburg, invested with a complex temporality and ex...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Pós (Universidade Federal de Minas Gerais. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/15669 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/revistapos/article/view/15669 |
| Access Level: | acceso abierto |
| Palabra clave: | Bill Viola imagem videográfica Pathosformel videographic image |
| Sumario: | Within the general field of video artist Bill Viola’s work, we propose an approach to the relationship between a visible energy in his videographic image, invested with some kind of “fragment of an existential memory”, and the mnemonic image of Aby Warburg, invested with a complex temporality and extended from his reference of the past and his symptomatic future, perpetuated in one cultural memory. |
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