对巴斯克式雕塑的声音干预

A. Nova
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引用次数: 0

摘要

一些当代艺术实践将其话语策略建立在不同艺术媒介的合并或混合之上;这些媒介被联合和/或混合,从而产生了新的审美方式,供观众和表演者体验。当代艺术的这种状况迫使评论家、历史学家或作家在某些未知的水域中航行,钻研那些有时对视觉艺术来说陌生而对其他艺术媒介来说合适的语言。2017年,声音艺术家何塞普-切尔达(Josep Cerdà)在很大程度上继承和发扬了巴斯谢兄弟的雕塑作品,他在波哥大举办了一个创意工作坊,制作了一个巴斯谢类型的声音雕塑,后来被用来进行声音干预;本文试图根据这一干预进行历史和美学分析。建议读者首先通过以下链接观看和聆听声音干预,以了解文章的发展:https://www.youtube.com/watch?v=4FyYm15xGbs。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Intervención sonora en una escultura tipo Baschet
Some contemporary art practices base their discursive strategy on the amalgamation or mixture of different artistic media; these media are united and/or blended and thereby produce new aesthetic approaches to be experienced by both spectators and performers. This condition of contemporary art compels critics, historians, or writers to navigate certain unknown waters, delving into languages that are sometimes foreign to the visual arts and proper to other artistic media. In 2017, the sound artist Josep Cerdà, heir and successor to a large extent of the sculptural work developed by the Baschet brothers, was in Bogotá running a creative workshop to build a Baschet-type sound sculpture that was later used to create a sound intervention; this essay attempts an historical and aesthetic analysis based on this intervention. Readers are advised to first view and listen to the sound intervention at the following link in order to understand the development of the essay: https://www.youtube.com/watch?v=4FyYm15xGbs
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