La adolorida de Bucay (ZÚÑIGA ALBÁN-1994): análisis desde las bases teóricas del Neo-Barraco de Sarduy
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2018-03
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Universidad Autónoma de Barcelona
Resumen
“La Adolorida de Bucay” (1994) es una obra Neobarroca del artista ecuatoriano
Hernán Zúñiga Albán, por cuya naturaleza rompió códigos representacionales ar tísticos heredados de la época moderna y subvirtió signifcados al resemantizar la
imagen original (Imagen de “La Dolorosa”), producto del gesto de apropiación lle vado a cabo por el artista. En este artículo evidenciaremos su naturaleza formal y
estética mediante un análisis hermenéutico, basado en los preceptos teóricos del
Neobarroco latinoamericano, tal como lo propone Severo Sarduy. Concluimos que
en ella están presentes mecanismos de artifcialización propios del Neobarroco
sarduyano (lo barroco, el artifcio, la parodia, el erotismo, espejo y revolución),
que dan cuenta de un estatuto de representación que subvirtió el signifcado de la
imagen original (la resemantizó).
“La Adolorida de Bucay” (1994) is a Neobaroque work by Ecuadorian artist Hernán Zuñiga Albán, whose nature broke inherited artistic representational codes from the modern times and subverted meanings by resemantizing the origi nal image (Image of "La Dolorosa"), product of the gesture of appropriation car ried out by the artist. Tis article demonstrates its formal and aesthetic nature through a hermeneutical analysis, based on the theoretical precepts of the Latin American Neobaroque, as proposed by Severo Sarduy. We conclude that typical mechanisms of artifcialization of the Neobaroque Sarduyano (baroque, artifce, parody, eroticism, mirror and revolution) are present in this image, which account for a representation statute that subverted the meaning of the original image (re semantized image)
“La Adolorida de Bucay” (1994) is a Neobaroque work by Ecuadorian artist Hernán Zuñiga Albán, whose nature broke inherited artistic representational codes from the modern times and subverted meanings by resemantizing the origi nal image (Image of "La Dolorosa"), product of the gesture of appropriation car ried out by the artist. Tis article demonstrates its formal and aesthetic nature through a hermeneutical analysis, based on the theoretical precepts of the Latin American Neobaroque, as proposed by Severo Sarduy. We conclude that typical mechanisms of artifcialization of the Neobaroque Sarduyano (baroque, artifce, parody, eroticism, mirror and revolution) are present in this image, which account for a representation statute that subverted the meaning of the original image (re semantized image)
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CREACIÓN ARTÍSTICA, ESTÈTICA, SEMÁNTICA