Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art

This paper addresses the works Domínguez Dentrecasa (2003) by Lila Siegrist and Museo del Fondo del Paraná (2012) by Santiago Villanueva, exhibited at the LVII and LXVI Salón Nacional de Rosario, respectively. Both retrieve some works of local art from the mid-20th century that had remained excluded...

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Detalles Bibliográficos
Autor principal: Defelice, Renata
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Letras 2022
Materias:
Archive
Region
Contemporary Art
Paraná River
Archivo
Región
Arte contemporáneo
Río Paraná
Acceso en línea:https://revistas.unc.edu.ar/index.php/heterotopias/article/view/39758
Aporte de:
Heterotopías de Universidad Nacional de Córdoba
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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 Archive
Region
Contemporary Art
Paraná River
Archivo
Región
Arte contemporáneo
Río Paraná
spellingShingle Archive
Region
Contemporary Art
Paraná River
Archivo
Región
Arte contemporáneo
Río Paraná
Defelice, Renata
Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art
topic_facet Archive
Region
Contemporary Art
Paraná River
Archivo
Región
Arte contemporáneo
Río Paraná
author Defelice, Renata
author_facet Defelice, Renata
author_sort Defelice, Renata
title Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art
title_short Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art
title_full Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art
title_fullStr Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art
title_full_unstemmed Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art
title_sort domínguez dentrecasa and museo del fondo del paraná: (modern) art as an archive of (contemporary) art
description This paper addresses the works Domínguez Dentrecasa (2003) by Lila Siegrist and Museo del Fondo del Paraná (2012) by Santiago Villanueva, exhibited at the LVII and LXVI Salón Nacional de Rosario, respectively. Both retrieve some works of local art from the mid-20th century that had remained excluded from the institutional arrangements of the museum and art history. These returns alone are holders for the revision of the established cartographies of modern art and, in addition, multiply this capacity by relating to different figures of the Paraná River through their underlying archival operations. By meeting in the fluvial, the archive and the region, notions linked throughout this essay, counteract the fixity of their definitions, multiplying themselves into questions defined from two specific artistic practices. In a continuous movement of additions, the region is sometimes perceived as a developmental remnant of substantial identity to be immediately questioned by the plurality of meanings that the image leaves in suspense. The archive, in turn, shows the constitutive power relations of its different contingencies: location, shelter, preservation, exhumation, tech support. The river, as archive and region or archive of the region, is questioned as landscape or subject of painting and is exposed to another conception different from these generic demarcations: the experimentations in the territory, its connection with the autobiographical construction, the multiple edges of its discursive emplacements. Domínguez Dentrecasa and the Museo del Fondo del Paraná seem to hold themselves on these complex intersections; in both projects, the reevaluation of symbolic expressions of the 20th century persists, returning to the fluvial as open questions to the future.
publisher Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2022
url https://revistas.unc.edu.ar/index.php/heterotopias/article/view/39758
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first_indexed 2024-09-03T21:09:57Z
last_indexed 2024-09-03T21:09:57Z
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spelling I10-R333-article-397582022-12-19T12:37:09Z Domínguez Dentrecasa and Museo del Fondo del Paraná: (Modern) Art as an Archive of (Contemporary) Art Domínguez Dentrecasa y Museo del Fondo del Paraná: el arte (moderno) como archivo del arte (contemporáneo) Defelice, Renata Archive Region Contemporary Art Paraná River Archivo Región Arte contemporáneo Río Paraná This paper addresses the works Domínguez Dentrecasa (2003) by Lila Siegrist and Museo del Fondo del Paraná (2012) by Santiago Villanueva, exhibited at the LVII and LXVI Salón Nacional de Rosario, respectively. Both retrieve some works of local art from the mid-20th century that had remained excluded from the institutional arrangements of the museum and art history. These returns alone are holders for the revision of the established cartographies of modern art and, in addition, multiply this capacity by relating to different figures of the Paraná River through their underlying archival operations. By meeting in the fluvial, the archive and the region, notions linked throughout this essay, counteract the fixity of their definitions, multiplying themselves into questions defined from two specific artistic practices. In a continuous movement of additions, the region is sometimes perceived as a developmental remnant of substantial identity to be immediately questioned by the plurality of meanings that the image leaves in suspense. The archive, in turn, shows the constitutive power relations of its different contingencies: location, shelter, preservation, exhumation, tech support. The river, as archive and region or archive of the region, is questioned as landscape or subject of painting and is exposed to another conception different from these generic demarcations: the experimentations in the territory, its connection with the autobiographical construction, the multiple edges of its discursive emplacements. Domínguez Dentrecasa and the Museo del Fondo del Paraná seem to hold themselves on these complex intersections; in both projects, the reevaluation of symbolic expressions of the 20th century persists, returning to the fluvial as open questions to the future. Este artículo explora los proyectos artísticos Domínguez Dentrecasa (2003) de Lila Siegrist y Museo del Fondo del Paraná (2012) de Santiago Villanueva, presentados en el LVII y LXVI Salón Nacional de Rosario, respectivamente. Ambos recuperan de manera productiva algunas obras de arte local de mediados del siglo XX que habían permanecido excluidas de los mecanismos institucionales del museo y, por lo mismo, de las historias del arte. Estos retornos albergan por sí solos reservas para la revisión de las cartografías instituidas del arte moderno. Además, multiplican esta apuesta apelando a diferentes figuras del río Paraná mediante las operaciones de archivo que los sustentan. Al encontrarse en lo fluvial, el archivo y la región, nociones enlazadas a lo largo del trabajo, contrarrestan la fijeza de sus definiciones tradicionales a través de interrogantes deslindados en prácticas artísticas específicas. En un continuo movimiento de adiciones, la región se percibe, a veces, como resabio desarrollista de la identidad sustancial para ser interpelada inmediatamente por la pluralidad de sentidos que las imágenes dejan en suspenso, anfibológicamente. El archivo, por su parte, muestra las relaciones de poder constitutivas de sus diferentes contingencias: la localización, el resguardo, la preservación, la exhumación, el soporte. El río, en tanto archivo y región o archivo de las regiones, es cuestionado en su condición de paisaje o asunto de la pintura y expuesto ante otras concepciones propicias a la fuga de esas demarcaciones genéricas: las experimentaciones en el territorio, su conexión con la construcción autobiográfica, las múltiples aristas de sus emplazamientos discursivos. Sobre estos complejos cruces parecen sostenerse Domínguez Dentrecasa y Museo del Fondo del Paraná; en los dos proyectos persiste la reevaluación de expresiones simbólicas del siglo XX que vuelven a lo fluvial como preguntas abiertas al porvenir. Facultad de Filosofía y Humanidades. Escuela de Letras 2022-12-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/39758 Heterotopías; Vol. 5 No. 10 (2022): River matter. Aesthetic-political configurations of American watersheds.; 89-111 Heterotopías; Vol. 5 Núm. 10 (2022): Materia fluvial. Configuraciones estético-políticas de las cuencas de América; 89-111 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/39758/39889 https://creativecommons.org/licenses/by-nc-sa/4.0

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