La crisis según
[EN] The'Crisis'According' to…'is an art project focusing on Spain's recent history that takes the economic crisis as its central axis. The subject is addressed in allusive and allegorical fashion, in order to address the viewer herself-questioning him ab...
| Autor: | |
|---|---|
| Tipo de documento: | capítulo de livro |
| Data de publicação: | 2015 |
| País: | España |
| Recursos: | Universitat Politècnica de València (UPV) |
| Repositório: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | espanhol |
| OAI Identifier: | oai:riunet.upv.es:10251/88581 |
| Acesso em linha: | https://riunet.upv.es/handle/10251/88581 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Arte Producción artística Estética Teoría del Arte Gestión cultural Educación artística Investigación artística |
| Resumo: | [EN] The'Crisis'According' to…'is an art project focusing on Spain's recent history that takes the economic crisis as its central axis. The subject is addressed in allusive and allegorical fashion, in order to address the viewer herself-questioning him about official history, collective memory and the myths that have sustained both institutional legitimacy and the "social contract" in Spain in the last decades, thus raising questions about the historical and cultural roots of the crisis itself. The project juxtaposes images based on national icons and institutional, media, and urban discourses. Some are intervened appropriations, some are made by the author using different techniques and formats, without hierarchy or distinction of "authorship". Images are presented in different formats: large format drawings inspired by images of different periods and contexts, paintings, video projections, appropriated media texts, photographs of graffiti (by others or by the author), urban signage and commercial posters, press photographs, books (fiction, educational manuals), etc. In short, they are images that appeal to history, memory, national mythology and media simulacra. The project raises several issues about spatial'narrative, politicization by allegorical means avoiding propaganda, and practices related to what Carlos Miranda has called invisible' art. Among other artistic strategies, the pictorial reduction of forms to the iconic sign is used to integrate them into a relatively uniform visual record. The appropriation of images and its subsequent resignification is also used (either by opposing image and text or by setting a context in which pure text appears, while in images without text free associations are established in the generated sequence). Irony is an occasional strategy as well (performative satire). |
|---|