Delimitaciones históricas y estéticas del territorio ampliado de la práctica pictórica
[EN] Through analysis of the history of painting we can observe various metamorphoses in its practice, from cave walls to easel painting and, more recently, the radical hybridisation of forms in its expanded territory. At each historical stage, an inherent aspect of the painted image emerges, such a...
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| Formato: | capítulo de livro |
| Fecha de publicación: | 2022 |
| País: | España |
| Recursos: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/186246 |
| Acesso em linha: | https://riunet.upv.es/handle/10251/186246 |
| Access Level: | acceso abierto |
| Palavra-chave: | Pintura Contemporánea Pintura expandida Territorio Ampliado de la Pintura Instalación Práctica Pictórica Contemporary painting Expanded painting Expanded Territory of Painting Installation Pictorial Practice |
| Resumo: | [EN] Through analysis of the history of painting we can observe various metamorphoses in its practice, from cave walls to easel painting and, more recently, the radical hybridisation of forms in its expanded territory. At each historical stage, an inherent aspect of the painted image emerges, such as its past ritual and spiritual function, which has been resolved in our present day as profane ephemeral events. This transformation of painting has intensified over the last century, where the repeated death of painting has produced a revulsive rebirth of its practice as a mode of radical self-questioning. In this article, we delve into the term expanded painting, seeking to define and delimit an approach to its meaning and signifier. We will analyse the precedents in the expanded territory of pictorial practice according to Alberto Carrere and Jos Saborit, its relationship with installation after the approaches of Rosalind Kraus and its application to painting by Almudena Fernández Fariña, as well as the relationship of these expanded practices with postmodern ideals and the ontological aesthetics proposed for expanded painting by Mark Titmarsh. From this review, we delve into the study of a complex term, whose use and presence in art is becoming extensive, but still with a wide margin to be pointed out. |
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