What happens (to us) (here-now)
Written in the context of the pandemic by Covid-19, in this text I propose an attempt to think about how certain artistic practices are affected by their migration towards virtuality, and the ways to adapt them to this situation. The virtual becomes (more) real, without leaving behind its intangibil...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2020
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/etcetera/article/view/31626 |
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I10-R300-article-316262020-12-21T18:53:35Z What happens (to us) (here-now) Que (nos) sucede (aquí-ahora) Rizzi, Esteban posperformance arts virtuality corporality representation posperformance artes virtualidad corporalidad representación Written in the context of the pandemic by Covid-19, in this text I propose an attempt to think about how certain artistic practices are affected by their migration towards virtuality, and the ways to adapt them to this situation. The virtual becomes (more) real, without leaving behind its intangibility, although it carries with it the inconvenience of losing much of what is represented. I differentiate here between the visual arts and the body arts, specifically performance. In this case, the representation techniques only make possible a flat, two-dimensional space and, even though they maintain the temporal dimension, they can only operate with field limitations, besides not being able to encompass other senses. Even though the pandemic makes this migration to virtuality possible and the geophysical ubiquity is no longer limiting, they do not allow the interaction of coexistence.. On the other hand, I reflect on the particularities raised around two personal experiences: 1) Moebius Performance, an artistic project; and 2) Habeas Corpus Performance, a management project; both carried out together with Patricia Valdez. In the first case, virtuality made possible complementary experiences to the previous path. For the second case, the virtual was an impediment, given the limitations regarding the wide range of poetics covered by performance art. In this sense, new instances of thought and action arise with respect to the future of practices in this artistic language that we call “postperformance”, a term proposed by Gustavo Blázquez. Escrito en contexto de pandemia por Covid-19, en este texto propongo un intento de pensar cómo ciertas prácticas artísticas son afectadas por su migración hacia la virtualidad, y los modos de adecuarlas a esta situación. Lo virtual se vuelve (más) real, sin dejar su intangibilidad, aunque acarrea inconvenientes por perdernos mucho de lo representado. Diferencio aquí entre las artes visuales y las corporales, específicamente la performance. En este caso, las técnicas de representación sólo posibilitan un espacio plano, bidimensional y, por más que mantengan la dimensión temporal, sólo pueden operar con limitaciones de campo, además de no poder abarcar otros sentidos. Si bien la pandemia posibilita esta migración a la virtualidad y la ubicuidad geofísica ya no es limitante, no permiten la interacción del convivio. Por otro lado, reflexiono sobre las particularidades planteadas en torno a dos experiencias personales: 1) Moebius Performance, un proyecto artístico; y 2) Habeas Corpus Performance, un proyecto de gestión; ambos realizados junto a Patricia Valdez. En el primer caso, la virtualidad posibilitó experiencias complementarias al trayecto previo. Para el segundo caso, lo virtual fue un impedimento, dadas las limitaciones respecto del amplio abanico de poéticas que abarca el arte de performance. En ese sentido, surgen nuevas instancias de pensamiento y acción respecto del futuro de las prácticas en este lenguaje artístico que denominamos “posperformance”, término propuesto por Gustavo Blázquez. Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2020-12-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/etcetera/article/view/31626 Etcétera. Revista del Área de Ciencias Sociales del CIFFyH; Núm. 7 (2020) 2618-4281 spa https://revistas.unc.edu.ar/index.php/etcetera/article/view/31626/32376 Derechos de autor 2020 Etcétera. Revista del Área de Ciencias Sociales del CIFFyH https://creativecommons.org/licenses/by-nc-sa/4.0 |
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Universidad Nacional de Córdoba |
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I-10 |
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R-300 |
| container_title_str |
Etcétera. Revista del Área de Ciencias Sociales del CIFFyH |
| language |
Español |
| format |
Artículo revista |
| topic |
posperformance arts virtuality corporality representation posperformance artes virtualidad corporalidad representación |
| spellingShingle |
posperformance arts virtuality corporality representation posperformance artes virtualidad corporalidad representación Rizzi, Esteban What happens (to us) (here-now) |
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posperformance arts virtuality corporality representation posperformance artes virtualidad corporalidad representación |
| author |
Rizzi, Esteban |
| author_facet |
Rizzi, Esteban |
| author_sort |
Rizzi, Esteban |
| title |
What happens (to us) (here-now) |
| title_short |
What happens (to us) (here-now) |
| title_full |
What happens (to us) (here-now) |
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What happens (to us) (here-now) |
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What happens (to us) (here-now) |
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what happens (to us) (here-now) |
| description |
Written in the context of the pandemic by Covid-19, in this text I propose an attempt to think about how certain artistic practices are affected by their migration towards virtuality, and the ways to adapt them to this situation. The virtual becomes (more) real, without leaving behind its intangibility, although it carries with it the inconvenience of losing much of what is represented. I differentiate here between the visual arts and the body arts, specifically performance. In this case, the representation techniques only make possible a flat, two-dimensional space and, even though they maintain the temporal dimension, they can only operate with field limitations, besides not being able to encompass other senses. Even though the pandemic makes this migration to virtuality possible and the geophysical ubiquity is no longer limiting, they do not allow the interaction of coexistence.. On the other hand, I reflect on the particularities raised around two personal experiences: 1) Moebius Performance, an artistic project; and 2) Habeas Corpus Performance, a management project; both carried out together with Patricia Valdez. In the first case, virtuality made possible complementary experiences to the previous path. For the second case, the virtual was an impediment, given the limitations regarding the wide range of poetics covered by performance art. In this sense, new instances of thought and action arise with respect to the future of practices in this artistic language that we call “postperformance”, a term proposed by Gustavo Blázquez. |
| publisher |
Centro de Investigaciones de la Facultad de Filosofía y Humanidades |
| publishDate |
2020 |
| url |
https://revistas.unc.edu.ar/index.php/etcetera/article/view/31626 |
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2024-09-03T20:21:55Z |
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