| Journal: | Aisthesis (Santiago) |
| Database: | CLASE |
| System number: | 000537087 |
| ISSN: | 0568-3939 |
| Authors: | Dardel Coronado, Magdalena1 |
| Institutions: | 1Universidad de Los Andes, Santiago de Chile. Chile |
| Year: | 2022 |
| Season: | Jul |
| Number: | 71 |
| Pages: | 243-264 |
| Country: | Chile |
| Language: | Español |
| Document type: | Artículo |
| Approach: | Analítico |
| Spanish abstract | Este trabajo estudia el concepto de signo en el pintor Francisco Méndez y en el escultor Claudio Girola, miembros de la Escuela de Arquitectura de Valparaíso. Se ocupará de contextualizar esta práctica, entendida como un gesto plástico efímero asociado al acto poético, y se revisarán algunos ejemplos realizados por Girola en la travesía Amereida (1965) y otros liderados por Méndez en las travesías a cabo Froward (1984) y a Curamahuida (1986). Se sugerirá que el signo definió parte del quehacer individual de estos artistas: en el caso de Méndez, en la práctica de la pintura no albergada, y en el de Girola, en la diversidad material empleada. Finalmente, se propondrá la existencia de un giro sígnico que determinó una particular estética caracterizada por la emergencia y la precariedad material |
| English abstract | This work studies the concept of sign in the painter Francisco Méndez and the sculptor Claudio Girola, carried out within the framework of the exercises of the School of Architecture of Valparaíso, to which both belonged. For them, the sign was an ephemeral plastic gesture that intended to leave a mark of the poetic acts practiced by the group. This article will first deal with contextualizing them, reviewing their origins and theoretical foundations. Then, some examples made by Girola in the Travesía Amereida (1965) and others led by Méndez in the crossings to Cabo Froward (1984) and Curamahuida (1986) will be presented and analyzed. It will be suggested that the sign, formulated in the early 1960s, defined part of the individual work of these artists: in the case of Méndez, in the practice of non-sheltered painting and, in the case of Girola, in the material diversity employed. Towards the end of the text, we will propose the existence of a signical turn that, from this plastic exercise, determined a particular aesthetic characterized by the emergence and material precariousness that the School developed in its artistic, pedagogical and playful strategies |
| Disciplines: | Arte |
| Keyword: | Arquitectura, Pintura, Poesía, Artes visuales, Signo, Artistas, Estética, Precariedad material, Chile |
| Keyword: | Architecture, Painting, Poetry, Sign, Artists, Esthetics, Material precariousness, Chile |
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