| Title | Contra el canon : el arte contemporáneo en un mundo sin centro |
|---|---|
| Type | Bibliographic |
| Edition | 1a ed. |
| Year | 2020 |
| TOC | Array |
| Summary | The fall of Paris during World War II marks a turning point in cultural history: the art world becomes a centerless space. With Europe devastated, the utopian impulse, the imagination that it was possible to delineate a future for forms, moves and begins to take place in different settings. After the postwar period, and especially since the sixties, the transformation of languages,typical of the avant-garde and neo-avant-garde unfolds from different scenes in a plot of simultaneities: everywhere and at the same time. Focusing on Latin American art, Andrea Giunta uses a comparative view that manages to break the evolutionary model and demonstrate that innovation does not occur in one place and then replicates in another, as a mechanism that radiates from the centers to the peripheries. The territory in which he tests his hypotheses is broad: the post-war avant-gardes in Buenos Aires, Mexico and Brazil; indigenismo and its reappropriation of traditions, from Xul Solar and Torres García to Punto Poncho; the postcolonial plot in Mohamedi's work and the Brazilian abstraction; Joan Miró and solidarity with Chile; the arguments and platform of second wave feminism in the Ramona de Berni series and Godard's filmography; the sixties and the explosion of the happening, between the Cold War, revolution and dictatorships |
| BH ID | BV047257066 |
| Link | |
| EPIC | |
| Open Data ID | BVB01-032661023 |
| Name | Giunta, Andrea |
|---|---|
| Type | 100 |
| Year | |
| Title | |
| Relationship | aut |
| Relator | Verfasser |
| GND | 188485163 : json |
| Wikidata | Q29345059 |