Robar la historia: contrarrelatos y prácticas artísticas de oposición
Book combines an exemplary journey through Latin American artistic production. We are here involved in the vital contingency of a thought that is attracted by interruptions and not by continuities, by outbursts and not by restorations, by the intermingling of disassembled bodies and gender (s) and n...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Spanish |
| Veröffentlicht: |
Santiago de Chile
Ediciones Metales Pesados
agosto de 2017
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Book combines an exemplary journey through Latin American artistic production. We are here involved in the vital contingency of a thought that is attracted by interruptions and not by continuities, by outbursts and not by restorations, by the intermingling of disassembled bodies and gender (s) and not by full identities , by the breakages of kinship and not by direct lineages, by the choppy knowledge and not by the unitary synthesis of an integral knowledge. he social and cultural mutations that brought the technologies of creation to experiment with new ways of doing and thinking about art that mix the expressive power of forms and concepts with citizen demands and community demands, civil movements, desire struggles that spread to crowds in action |
| Beschreibung: | "'Stealing history, counter-narratives and oppositional artistic practices' has as its horizon the social and cultural mutations that took the technologies of creation to experiment with new ways of doing and thinking about art that mix the expressive power of forms and concepts with citizen demands and community demands, civil movements, desire struggles that spread to crowds in action. "--Auto translation from cover of book (viewed on Amazon website viewed on December 14, 2017) |
| Beschreibung: | 223 pages illustrations 22 cm |
| ISBN: | 9789569843303 9569843306 |
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| 505 | 8 | |a Prólogo -- Introducción -- ¿Como sabemos a qué se parece el conseptualismo latinoamericano? -- Desgaste y disolución del objeto en el arte peruano de los años sesenta -- Una guerrilla cultura : Juan Acha y la vanguardia peruana -- El giro discursivo de las exposiciones desde una perspectiva del Sur : São Paulo (1978) y Medellín (1981) -- Red Conceptualismos del Sur : memoria, política, microhistorias y experimentación con archivos -- Acción gráfica en los años ochenta -- Fosa común -- Cadáveres maricas. El Grupo Chaclacayo y la imagen de la nuerte -- La realidad me puede chupar la pija, querido. El Mueo Travesti del Perú y las historias que merecemos -- Los femenismos contra la historia (del arte). Notas sobre cultural visual y políticas de representación | |
| 520 | 3 | |a Book combines an exemplary journey through Latin American artistic production. We are here involved in the vital contingency of a thought that is attracted by interruptions and not by continuities, by outbursts and not by restorations, by the intermingling of disassembled bodies and gender (s) and not by full identities , by the breakages of kinship and not by direct lineages, by the choppy knowledge and not by the unitary synthesis of an integral knowledge. he social and cultural mutations that brought the technologies of creation to experiment with new ways of doing and thinking about art that mix the expressive power of forms and concepts with citizen demands and community demands, civil movements, desire struggles that spread to crowds in action | |
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Datensatz im Suchindex
| _version_ | 1804179220640825344 |
|---|---|
| adam_text | INDICE
PROLOGO. NELLY RICHARD
...................................................................
9
INTRODUCCION
..................................................................................
15
COMO
SABEMOS
A QUE
SE PARECE EL CONCEPTUALISMO
LATINOAMERICANO?
............................................................................
19
DESGASTE
Y
DISOLUCION DEL OBJETO
EN EL ARTE PERUANO DE LOS AFIOS
SESENTA
............................................................................................
47
ESCRITO CON EMILIO ERAZONA
UNA GUERRILLA CULTURAL:
JUAN
ACHA Y LA VANGUARDIA PERUANA
..............
65
EL GIRO DISCURSIVO
DE LAS EXPOSICIONES DESDE UNA PERSPECTIVA DEL SUR:
...............................................
SAO
PAULO (1978) Y MEDELLIN
(198
1)
85
RED CONCEPTUALISMOS DEL SUR: MEMORIA. POLITICA. MICROHISTORIAS Y
.
.
EXPERIMENTACION
CON ARCHIVOS
.........................................................
107
..................................................
ACCION !GRAFICA
EN LOS ANOS
OCHENTA
129
....................................................................................
FOSA COMUN 141
CADAVERES
MARICAS
.
EL GRUPO
CHACLACAYO
Y LA IMAGEN DE LA MUERTE
..
159
LA REALIDAD ME PUEDE CHUPAR
LA PIJA.
QUERIDO
.
EL MUSEO
TRAVESTI
DEL
PERU
Y LAS HISTORIAS QUE
MERECEMOS
............................................
179
LOS FEMINISMOS
CONTRA
LA HISTORIA (DEL ARTE)
.
NOTAS SOBRE CULTURA
VISUAL
Y
DE REPRESENTACION
.................................................
195
........................................................................
FUENTE
DE 10S TEXTOS 219
|
| any_adam_object | 1 |
| author | López, Miguel A. 1983- |
| author_GND | (DE-588)1173729690 |
| author_facet | López, Miguel A. 1983- |
| author_role | aut |
| author_sort | López, Miguel A. 1983- |
| author_variant | m a l ma mal |
| building | Verbundindex |
| bvnumber | BV045374561 |
| contents | Prólogo -- Introducción -- ¿Como sabemos a qué se parece el conseptualismo latinoamericano? -- Desgaste y disolución del objeto en el arte peruano de los años sesenta -- Una guerrilla cultura : Juan Acha y la vanguardia peruana -- El giro discursivo de las exposiciones desde una perspectiva del Sur : São Paulo (1978) y Medellín (1981) -- Red Conceptualismos del Sur : memoria, política, microhistorias y experimentación con archivos -- Acción gráfica en los años ochenta -- Fosa común -- Cadáveres maricas. El Grupo Chaclacayo y la imagen de la nuerte -- La realidad me puede chupar la pija, querido. El Mueo Travesti del Perú y las historias que merecemos -- Los femenismos contra la historia (del arte). Notas sobre cultural visual y políticas de representación |
| ctrlnum | (OCoLC)1080943094 (DE-599)BVBBV045374561 |
| era | Geschichte 1960-2015 gnd |
| era_facet | Geschichte 1960-2015 |
| format | Book |
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| language | Spanish |
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| spelling | López, Miguel A. 1983- Verfasser (DE-588)1173729690 aut Robar la historia contrarrelatos y prácticas artísticas de oposición Miguel A. López Santiago de Chile Ediciones Metales Pesados agosto de 2017 223 pages illustrations 22 cm txt rdacontent n rdamedia nc rdacarrier "'Stealing history, counter-narratives and oppositional artistic practices' has as its horizon the social and cultural mutations that took the technologies of creation to experiment with new ways of doing and thinking about art that mix the expressive power of forms and concepts with citizen demands and community demands, civil movements, desire struggles that spread to crowds in action. "--Auto translation from cover of book (viewed on Amazon website viewed on December 14, 2017) Prólogo -- Introducción -- ¿Como sabemos a qué se parece el conseptualismo latinoamericano? -- Desgaste y disolución del objeto en el arte peruano de los años sesenta -- Una guerrilla cultura : Juan Acha y la vanguardia peruana -- El giro discursivo de las exposiciones desde una perspectiva del Sur : São Paulo (1978) y Medellín (1981) -- Red Conceptualismos del Sur : memoria, política, microhistorias y experimentación con archivos -- Acción gráfica en los años ochenta -- Fosa común -- Cadáveres maricas. El Grupo Chaclacayo y la imagen de la nuerte -- La realidad me puede chupar la pija, querido. El Mueo Travesti del Perú y las historias que merecemos -- Los femenismos contra la historia (del arte). Notas sobre cultural visual y políticas de representación Book combines an exemplary journey through Latin American artistic production. We are here involved in the vital contingency of a thought that is attracted by interruptions and not by continuities, by outbursts and not by restorations, by the intermingling of disassembled bodies and gender (s) and not by full identities , by the breakages of kinship and not by direct lineages, by the choppy knowledge and not by the unitary synthesis of an integral knowledge. he social and cultural mutations that brought the technologies of creation to experiment with new ways of doing and thinking about art that mix the expressive power of forms and concepts with citizen demands and community demands, civil movements, desire struggles that spread to crowds in action Geschichte 1960-2015 gnd rswk-swf Frauenkunst (DE-588)4370467-0 gnd rswk-swf Opposition Motiv (DE-588)4996809-9 gnd rswk-swf Politische Kunst (DE-588)4175029-9 gnd rswk-swf Lateinamerika (DE-588)4074032-8 gnd rswk-swf Avant-garde (Aesthetics) / Latin America / History / 21st century Art and society / Latin America / History / 21st century Art and technology / Latin America / History / 21st century Art, Latin American / 21st century Art and society Art and technology Art, Latin American Avant-garde (Aesthetics) Latin America 2000-2099 History Lateinamerika (DE-588)4074032-8 g Politische Kunst (DE-588)4175029-9 s Frauenkunst (DE-588)4370467-0 s Opposition Motiv (DE-588)4996809-9 s Geschichte 1960-2015 z DE-604 KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030760981&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | López, Miguel A. 1983- Robar la historia contrarrelatos y prácticas artísticas de oposición Prólogo -- Introducción -- ¿Como sabemos a qué se parece el conseptualismo latinoamericano? -- Desgaste y disolución del objeto en el arte peruano de los años sesenta -- Una guerrilla cultura : Juan Acha y la vanguardia peruana -- El giro discursivo de las exposiciones desde una perspectiva del Sur : São Paulo (1978) y Medellín (1981) -- Red Conceptualismos del Sur : memoria, política, microhistorias y experimentación con archivos -- Acción gráfica en los años ochenta -- Fosa común -- Cadáveres maricas. El Grupo Chaclacayo y la imagen de la nuerte -- La realidad me puede chupar la pija, querido. El Mueo Travesti del Perú y las historias que merecemos -- Los femenismos contra la historia (del arte). Notas sobre cultural visual y políticas de representación Frauenkunst (DE-588)4370467-0 gnd Opposition Motiv (DE-588)4996809-9 gnd Politische Kunst (DE-588)4175029-9 gnd |
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| title | Robar la historia contrarrelatos y prácticas artísticas de oposición |
| title_auth | Robar la historia contrarrelatos y prácticas artísticas de oposición |
| title_exact_search | Robar la historia contrarrelatos y prácticas artísticas de oposición |
| title_full | Robar la historia contrarrelatos y prácticas artísticas de oposición Miguel A. López |
| title_fullStr | Robar la historia contrarrelatos y prácticas artísticas de oposición Miguel A. López |
| title_full_unstemmed | Robar la historia contrarrelatos y prácticas artísticas de oposición Miguel A. López |
| title_short | Robar la historia |
| title_sort | robar la historia contrarrelatos y practicas artisticas de oposicion |
| title_sub | contrarrelatos y prácticas artísticas de oposición |
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| topic_facet | Frauenkunst Opposition Motiv Politische Kunst Lateinamerika |
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