Burchard, Balmes y la historia de una taza: un momento singular de montaje y actualidad
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Archivos
Fecha
2012
Autores
Profesor/a Guía
Facultad/escuela
Idioma
es
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad Andrés Bello
Nombre de Curso
Licencia CC
Licencia CC
Resumen
El siguiente trabajo consiste en una lectura crítica en torno a
una particular obra y su relación con dos pintores nacionales.
Específicamente, remite al modo en que una obra del pasado
puede cobrar actualidad y cómo una obra actual puede verse
atravesada significativamente por el pasado, operando una especie
de virtual anacronismo. De lo que este texto se ocupa es de
la irrupción de Burchard, de su modo de pintar, de su idea de
la pintura y de una obra suya en particular en el medio de un
montaje ofrecido por Balmes.
The following text is a critical interpretation upon a particular work of art and the way in which it proposes a connection between two Chilean painters situated in different times. This paper proposes Pablo Bucrhard’s irruption, his way of painting, his idea on painting, and of one of his works in particular upon a montage by José Balmes. The present essay deals with the sense in which a work from the past is able to become current, and how a present day work can be trespassed by the past, producing a kind of virtual anachronism.
The following text is a critical interpretation upon a particular work of art and the way in which it proposes a connection between two Chilean painters situated in different times. This paper proposes Pablo Bucrhard’s irruption, his way of painting, his idea on painting, and of one of his works in particular upon a montage by José Balmes. The present essay deals with the sense in which a work from the past is able to become current, and how a present day work can be trespassed by the past, producing a kind of virtual anachronism.
Notas
Indexación: Revista UNAB
Palabras clave
Montaje, Pintura, Anacronismo, Historia, Acontecimiento
Citación
REVISTA DE HUMANIDADES Nº26 (JULIO-DICIEMBRE 2012): 159-169