Desviar la tradiciĆ³n: el arte de apropiaciĆ³n de la revista mexicana S.NOB
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Archivos
Fecha
2018-06
Autores
Profesor/a GuĆa
Facultad/escuela
Idioma
es
TĆtulo de la revista
ISSN de la revista
TĆtulo del volumen
Editor
Universidad AndrƩs Bello
Nombre de Curso
Licencia CC
Licencia CC
Resumen
La revista mexicana S.Nob (7 nĆŗmeros, octubre a noviembre
de 1962), dirigida por Salvador Elizondo, Juan GarcĆa Ponce
y Emilio GarcĆa Riera, constituye un hito en la genealogĆa latinoamericana de artes de apropiaciĆ³n, cuyas prĆ”cticas se basan
en el reciclaje de imĆ”genes y textos ya producidos por nuestra cultura con el propĆ³sito de desviar y desmontar la tradiciĆ³n.
Este artĆculo ahonda en las dimensiones intermediales de este
proyecto que, al tiempo que se adscribe a estƩticas como la
patafĆsica francesa, cuestiona y redefine las fronteras entre escritura y visualidad mediante actos de creaciĆ³n y crĆtica que se
ubican en los intersticios entre las artes, entre ellos: la hibridaciĆ³n de las materialidades, la espacializaciĆ³n de la escritura
y la exploraciĆ³n del cine como aparato artĆstico y cultural de
la modernidad.
The Mexican magazine S.Nob (7 issues, October to November, 1962), directed by Salvador Elizondo, Juan GarcĆa Ponce and Emilio GarcĆa Riera, represents a remarkable milestone in the Latin American genealogy of Appropriation Art, based on the recycle of pre-existingimages and texts to divert and dismantle tradition. This article goes in deep in the intermedial dimensions of this project, linked to certain aesthetics such as French Pataphysics. At the same time, the magazine challenges and redefines the boundaries between writing and visuality, through acts of creation and critique situated in art interstices, such as: the hybridization of materials, the spatialization of writing, and the exploration of the cinema as an artistic and cultural device of modernity.
The Mexican magazine S.Nob (7 issues, October to November, 1962), directed by Salvador Elizondo, Juan GarcĆa Ponce and Emilio GarcĆa Riera, represents a remarkable milestone in the Latin American genealogy of Appropriation Art, based on the recycle of pre-existingimages and texts to divert and dismantle tradition. This article goes in deep in the intermedial dimensions of this project, linked to certain aesthetics such as French Pataphysics. At the same time, the magazine challenges and redefines the boundaries between writing and visuality, through acts of creation and critique situated in art interstices, such as: the hybridization of materials, the spatialization of writing, and the exploration of the cinema as an artistic and cultural device of modernity.
Notas
IndexaciĆ³n: Revista UNAB.
Palabras clave
Revistas artĆstico-culturales, Intermedialidad, ApropiaciĆ³n, PatafĆsica, Cine, MĆ©xico
CitaciĆ³n
REVISTA DE HUMANIDADES NĀŗ37 (ENERO-JUNIO 2018): 15-37