The art of the irreparable in Fernando Foglino’s the burial
The work of the Uruguayan artist Fernando Foglino (Montevideo, 1976) revisits the past and confronts it with the iconic materiality of the sculptures of the urban landscape where he updates, in a playful and ironic way, a critique of the construction of national memory. The articulation between hist...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Humanidades. Escuela de Letras
2021
|
| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36346 |
| Aporte de: |
| id |
I10-R333-article-36346 |
|---|---|
| record_format |
ojs |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-333 |
| container_title_str |
Heterotopías |
| language |
Español |
| format |
Artículo revista |
| topic |
Contemporary Art Site Specific Installation Memory History South Cone Post-Dictatorships Arte Contemporáneo Instalación Sitio Específico Memoria Historia Post-dictaduras Cono Sur |
| spellingShingle |
Contemporary Art Site Specific Installation Memory History South Cone Post-Dictatorships Arte Contemporáneo Instalación Sitio Específico Memoria Historia Post-dictaduras Cono Sur Azpeteguía, María José The art of the irreparable in Fernando Foglino’s the burial |
| topic_facet |
Contemporary Art Site Specific Installation Memory History South Cone Post-Dictatorships Arte Contemporáneo Instalación Sitio Específico Memoria Historia Post-dictaduras Cono Sur |
| author |
Azpeteguía, María José |
| author_facet |
Azpeteguía, María José |
| author_sort |
Azpeteguía, María José |
| title |
The art of the irreparable in Fernando Foglino’s the burial |
| title_short |
The art of the irreparable in Fernando Foglino’s the burial |
| title_full |
The art of the irreparable in Fernando Foglino’s the burial |
| title_fullStr |
The art of the irreparable in Fernando Foglino’s the burial |
| title_full_unstemmed |
The art of the irreparable in Fernando Foglino’s the burial |
| title_sort |
art of the irreparable in fernando foglino’s the burial |
| description |
The work of the Uruguayan artist Fernando Foglino (Montevideo, 1976) revisits the past and confronts it with the iconic materiality of the sculptures of the urban landscape where he updates, in a playful and ironic way, a critique of the construction of national memory. The articulation between history, memory and urban monument raised in its installations questions the circulation of the past in the local imaginary. Coming from architecture, the artist is accustomed to working with computer models, which allows him to make 3D formalizations of the monuments that he intervenes a posteriori.
This proposal, which has been going on for more than a decade, would seem to be attentive to the temporalities that cross the particular iconography of the identity construction of a country seen from the perspective of contemporary art. The work that concerns us is the work El Entierro, exhibited in 2016 in the Hall of the Lost Steps of the Legislative Palace, within the framework of the 3rd Montevideo Biennial. My hypothesis is that Foglino manages, by giving volume to an ominous and inaccessible photograph that is in the archives of a newspaper, to transform its reception through fantastical visions that promote a reflective distancing.
The operation in this work, then, consists - through a distancing that in the words of Didi-Huberman would confront us with the notion of survival understood as "a specific expression of the footprint" that would be located "between ghost and symptom" - in bringing the two dimensions of the plane to the volumetric representation of 3D printing and then flattening them again on the screen of a closed circuit television (CCTV) and in a fairly simple a priori articulation, to open a wide associative constellation that transform the view of both, historical and contemporary events. This artist works on the trauma of the dictatorship and the multiple social violences of democracy, through the discursive deconstruction typical of the distancing caused by the gaze in the intervention of the well-known -and therefore invisible- in the city.
|
| publisher |
Facultad de Filosofía y Humanidades. Escuela de Letras |
| publishDate |
2021 |
| url |
https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36346 |
| work_keys_str_mv |
AT azpeteguiamariajose theartoftheirreparableinfernandofoglinostheburial AT azpeteguiamariajose elartedeloirreparableenlaobraelentierrodefernandofoglino AT azpeteguiamariajose artoftheirreparableinfernandofoglinostheburial |
| first_indexed |
2024-09-03T21:09:47Z |
| last_indexed |
2024-09-03T21:09:47Z |
| _version_ |
1809210710652092416 |
| spelling |
I10-R333-article-363462023-06-06T12:41:59Z The art of the irreparable in Fernando Foglino’s the burial El arte de lo irreparable en la obra el entierro de Fernando Foglino Azpeteguía, María José Contemporary Art Site Specific Installation Memory History South Cone Post-Dictatorships Arte Contemporáneo Instalación Sitio Específico Memoria Historia Post-dictaduras Cono Sur The work of the Uruguayan artist Fernando Foglino (Montevideo, 1976) revisits the past and confronts it with the iconic materiality of the sculptures of the urban landscape where he updates, in a playful and ironic way, a critique of the construction of national memory. The articulation between history, memory and urban monument raised in its installations questions the circulation of the past in the local imaginary. Coming from architecture, the artist is accustomed to working with computer models, which allows him to make 3D formalizations of the monuments that he intervenes a posteriori. This proposal, which has been going on for more than a decade, would seem to be attentive to the temporalities that cross the particular iconography of the identity construction of a country seen from the perspective of contemporary art. The work that concerns us is the work El Entierro, exhibited in 2016 in the Hall of the Lost Steps of the Legislative Palace, within the framework of the 3rd Montevideo Biennial. My hypothesis is that Foglino manages, by giving volume to an ominous and inaccessible photograph that is in the archives of a newspaper, to transform its reception through fantastical visions that promote a reflective distancing. The operation in this work, then, consists - through a distancing that in the words of Didi-Huberman would confront us with the notion of survival understood as "a specific expression of the footprint" that would be located "between ghost and symptom" - in bringing the two dimensions of the plane to the volumetric representation of 3D printing and then flattening them again on the screen of a closed circuit television (CCTV) and in a fairly simple a priori articulation, to open a wide associative constellation that transform the view of both, historical and contemporary events. This artist works on the trauma of the dictatorship and the multiple social violences of democracy, through the discursive deconstruction typical of the distancing caused by the gaze in the intervention of the well-known -and therefore invisible- in the city. La obra del artista uruguayo Fernando Foglino (Montevideo, 1976) revisita el pasado y lo confronta con la materialidad icónica de las esculturas del paisaje urbano donde actualiza, de una manera lúdica e irónica, una crítica a la construcción de la memoria nacional. La articulación entre historia, memoria y monumento urbano planteada en sus instalaciones cuestiona los modos de circulación del pasado en el imaginario local. Proveniente de la arquitectura, el artista está habituado a trabajar con modelos computarizados, lo que le permite realizar formalizaciones 3D de los monumentos que interviene a posteriori. Esta propuesta, que lleva más de una década, parecería estar atenta a las temporalidades que atraviesan la iconografía particular de la construcción identitaria de un país vista desde la perspectiva del arte contemporáneo. El trabajo que nos ocupa es la obra “El Entierro”, exhibida en el año 2016 en el Salón de los Pasos Perdidos del Palacio Legislativo en el marco de la 3ra Bienal de Montevideo. Mi hipótesis es que Foglino logra, al dar volumen a una fotografía ominosa e inaccesible que está en los archivos de un diario, transformar su recepción atravesándola por visiones fantasmáticas que promueven un distanciamiento reflexivo. La operación en esta obra, entonces, consiste –a través de un distanciamiento que, al decir de Didi-Huberman (2011) , nos enfrentaría con la noción de supervivencia entendida como “una expresión específica de la huella”, aquello que estaría ubicado “entre fantasma y síntoma”– en llevar las dos dimensiones del plano a la representación volumétrica de la impresión 3D, luego volver a aplanarlos en la pantalla de un circuito cerrado de televisión (CCTV) para de este modo, y en una articulación a priori bastante sencilla, constelar asociaciones que transforman tanto el pensamiento sobre los acontecimientos históricos como los contemporáneos. Este artista trabaja el trauma de la dictadura y las múltiples violencias sociales de la democracia mediante la deconstrucción discursiva propia del distanciamiento que provoca la mirada en la intervención de lo archiconocido –y por ende invisibilizado– para el transeúnte cotidiano de la ciudad. Facultad de Filosofía y Humanidades. Escuela de Letras 2021-12-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Scientific articles Artículos científicos application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36346 Heterotopías; Vol. 4 No. 8 (2021): “Estética, política y naturaleza: lenguajes y experiencias ecopoéticas". ; 1-15 Heterotopías; Vol. 4 Núm. 8 (2021): “Estética, política y naturaleza: lenguajes y experiencias ecopoéticas". ; 1-15 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/36346/36673 https://creativecommons.org/licenses/by-nc-sa/4.0 |