哥伦比亚的 "民族艺术 "论述

Maria Isabel Vargas Arbelaez
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引用次数: 0

摘要

通过对三种不同的 "民族艺术 "论述的分析,本文认为,"民族艺术 "作为一种基本论述,在确定哥伦比亚艺术创作的大部分内容以及围绕艺术创作的辩论中发挥了持续而重要的作用。在这一框架内,我研究了现代性与现代化之间的紧张关系,例如,在上个世纪发生的巴丘埃小组的现代主义提案(反学术和表现主义)与玛尔塔-特拉巴(Marta Traba)等人的 "更新 "运动和欧亨尼奥-巴尼(Eugenio Barney)的跨文化理论所倡导的现代化尝试之间的争论。我的假设是,这种紧张关系在安东尼奥-卡罗(Antonio Caro)面向全国公众的造型和概念作品中得到了综合。在卡罗对曼努埃尔-金廷-拉梅的生活和工作的诠释中,前面的运动找到了它们的结合点,并实现了质的飞跃。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Discourse of “National Art” in Colombia
Through the analysis of three different discourses on “national art” this paper argues that the latter has functioned as an underlying discourse and played a constant and significant role in defining much of artistic production in Colombia and the debates around it. Within this framework I examine the tension between modernity and modernization that comes into view, for example, in the controversy that took place during the last century between the modernist proposals of the Bachué group, which were anti-academic and expressionist, and the attempt at modernization promoted by figures like Marta Traba, with her “updating” campaign, and Eugenio Barney with his theory of transculturation. My hypothesis is that this tension reaches a synthesis in the plastic and conceptual work of Antonio Caro, which addressed the national public. The preceding movements find their synthesis and take a qualitative leap in Caro’s interpretation of the life and work of Manuel Quintín Lame.
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