Sobre la significación de la materia y el cambio de paradigma cultural / On the concept of matter and the change of the cultural paradigm
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Publication date
2014
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Fundación Arte y Mecenazgo; La Oficina de Arte y Ediciones
Citation
Moñivas, E. (2014). Sobre la significación de la materia y el cambio de paradigma cultural / On the concept of matter and the change of the cultural paradigm. En: Lootz, E. Escultura Negativa / Negative Sculpture. Madrid: Fundación Arte y Mecenazgo; La Oficina de Arte y Ediciones, pp. 24-27.
Abstract
Tomando como base la obra de la artista Eva Lootz e indagando en su exploración de los procesos físicos e imaginativos relacionados con la materialidad, este texto articula una reflexión sobre los cambios experimentados en el arte contemporáneo en torno a los conceptos de `materia´ y de `objeto´. La transición hacia la procesualidad y la performatividad de la materia que conlleva el trabajo de Lootz con flujos, minas, nudos, vertidos, papillas, cúmulos y palabras, obliga a pensar de una forma diferente el tipo de memorias que estas obras plantean. El texto constituye un alegato a favor de la disolución de los límites disciplinares que permita comprender los procesos creativos afincados en el territorio arte-ciencia.
Taking as its basis the work of the artist Eva Lootz and delving into her exploration of the physical and imaginative processes related to materiality, this text articulates a reflection on the changes experienced in contemporary art concerning the concepts of 'matter' and 'object.' The transition towards the processual and performative nature of matter, inherent in Lootz’s work with flows, mines, knots, pours, pulps, clusters, and words, compels us to reconsider the types of memories these works evoke. The text constitutes an argument in favour of dissolving disciplinary boundaries to better understand the creative processes rooted in the art-science domain.
Taking as its basis the work of the artist Eva Lootz and delving into her exploration of the physical and imaginative processes related to materiality, this text articulates a reflection on the changes experienced in contemporary art concerning the concepts of 'matter' and 'object.' The transition towards the processual and performative nature of matter, inherent in Lootz’s work with flows, mines, knots, pours, pulps, clusters, and words, compels us to reconsider the types of memories these works evoke. The text constitutes an argument in favour of dissolving disciplinary boundaries to better understand the creative processes rooted in the art-science domain.
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Edición en inglés y español.