Guillermo Cifuentes’ Video-Art: Language of Rootlessness
In Chilean transition to democracy, video cameras, formerly used by artists in their quest for social and political denunciation, have been taken by a new generation of audiovisual artists, mostly trained in colleges. Influenced by conceptualist trends, they develop a common rhetoric, different fr...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Universidad de Chile. Instituto de la Comunicación e Imagen
2010
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| Acceso en línea: | http://www.comunicacionymedios.uchile.cl/index.php/RCM/article/view/25869 http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=cl/cl-002&d=article25869oai |
| Aporte de: |
| Sumario: | In Chilean transition to democracy, video cameras, formerly used by artists in their quest for social and political denunciation, have been taken by a new generation of audiovisual artists, mostly trained in colleges. Influenced by conceptualist trends, they develop a common rhetoric, different from previous generation because of their experimentation of technical possibilities that this format can provide. Within this generation Guillermo Cifuentes appears as a somewhat diffuse figure, who suddenly died in 2007, not well known by public audience. This paper aims to list Cifuentes' works in video format and identify its characteristic features. W estate that, as he developed a particular language, he is an important author in Chilean art video. |
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