Un campo reverberante : Hélio Oiticica, Lygia Pape y Edgardo Vigo

Detalles Bibliográficos
Publicado en:	Aisthesis. No. 63 (2018),27-54. Santiago : Pontificia Universidad Católica de Chile. Santiago Instituto de Estética. Facultad de Filosofía, 2018 Artículos
Autor Principal:	Bugnone, Ana
Formato:	Artículo
Temas:	Hélio Oiticica Lygia Pape Edgardo Antonio Vigo Público Participación Audience Participation Archivos Artes Oiticica, Hélio Pape, Lygia Vigo, Edgardo
Acceso en línea:	https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.9501/pr.9501.pdf http://sedici.unlp.edu.ar/handle/10915/88902 https://ri.conicet.gov.ar/handle/11336/181462 10.7764/aisth.63.2
Resumen:	Entre 1960 y 1970, Hélio Oiticica, Lygia Pape y Edgardo Antonio Vigo compartían la idea de que el público debía pasar de su función de espectador pasivo a participante en el proceso artístico. En este artículo, a través de un estudio de casos, se analiza cómo a partir de este objetivo emprendieron una serie de propuestas participativas que buscaban un vínculo con la comunidad, muchas de ellas en el espacio público. Así, el involucramiento de la acción corporal, la danza, la exploración y el estímulo sensible e intelectual eran parte de los procesos artísticos de estos tres artistas. En el marco de las dictaduras de Brasil y Argentina, así como de la emergencia de movimientos y acciones revolucionarias, estos artistas promovieron, a su manera, un ideal democratizador del arte Between the 1960s and 1970s, Hélio Oiticica, Lygia Pape and Edgardo Antonio Vigo shared the idea that the audience should stop behaving as a passive spectator to become an active participant in the artistic process. In this case study, we will study how, with this aim in mind, these artists put into practice a series of participatory proposals ?most of them in public spaces? which sought to establish a bond with the community. Therefore, these three artist?s artistic proposals involved bodily action, dancing, and intellectual andsensitive stimulus and exploration. Within the framework of both Brazilian and Argentinean dictatorships, as well as of the emergence of revolutionary actions and movements, they fostered an art democratizing ideal in their own way
Descripción Física:	p.27-54
ISSN:	ISSN 0568-3939

MARC


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100			\|a Bugnone, Ana \|u Facultad de Humanidades y Ciencias de la Educación, Universidad Nacional de La Plata
245	1	0	\|a Un campo reverberante \|b : Hélio Oiticica, Lygia Pape y Edgardo Vigo
246	3	3	\|a A Reverberant Field \|b Hélio Oiticica, Lygia Pape and Edgardo Vigo
041		7	\|2 ISO 639-1 \|a es
300			\|a p.27-54
520	3		\|a Entre 1960 y 1970, Hélio Oiticica, Lygia Pape y Edgardo Antonio Vigo compartían la idea de que el público debía pasar de su función de espectador pasivo a participante en el proceso artístico. En este artículo, a través de un estudio de casos, se analiza cómo a partir de este objetivo emprendieron una serie de propuestas participativas que buscaban un vínculo con la comunidad, muchas de ellas en el espacio público. Así, el involucramiento de la acción corporal, la danza, la exploración y el estímulo sensible e intelectual eran parte de los procesos artísticos de estos tres artistas. En el marco de las dictaduras de Brasil y Argentina, así como de la emergencia de movimientos y acciones revolucionarias, estos artistas promovieron, a su manera, un ideal democratizador del arte
653			\|a Hélio Oiticica
653			\|a Lygia Pape
653			\|a Edgardo Antonio Vigo
653			\|a Público
653			\|a Participación
520	3		\|a Between the 1960s and 1970s, Hélio Oiticica, Lygia Pape and Edgardo Antonio Vigo shared the idea that the audience should stop behaving as a passive spectator to become an active participant in the artistic process. In this case study, we will study how, with this aim in mind, these artists put into practice a series of participatory proposals ?most of them in public spaces? which sought to establish a bond with the community. Therefore, these three artist?s artistic proposals involved bodily action, dancing, and intellectual andsensitive stimulus and exploration. Within the framework of both Brazilian and Argentinean dictatorships, as well as of the emergence of revolutionary actions and movements, they fostered an art democratizing ideal in their own way
653			\|a Hélio Oiticica
653			\|a Lygia Pape
653			\|a Edgardo Antonio Vigo
653			\|a Audience
653			\|a Participation
650	0	4	\|a Archivos
650	0	4	\|a Artes
650	0	4	\|a Oiticica, Hélio
650	0	4	\|a Pape, Lygia
650	0	4	\|a Vigo, Edgardo
856	4	0	\|u https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.9501/pr.9501.pdf
952			\|u https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.9501/pr.9501.pdf \|a MEMORIA ACADEMICA \|b MEMORIA ACADEMICA
856	4	1	\|u http://sedici.unlp.edu.ar/handle/10915/88902
856	4	1	\|u https://ri.conicet.gov.ar/handle/11336/181462
856			\|u 10.7764/aisth.63.2
773	0		\|7 nnas \|t Aisthesis. \|g No. 63 (2018),27-54 \|l 63 \|q 27-54 \|d Santiago : Pontificia Universidad Católica de Chile. Santiago Instituto de Estética. Facultad de Filosofía, 2018 \|x ISSN 0568-3939 \|k Artículos
542	1		\|f Esta obra está bajo una licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional \|u https://creativecommons.org/licenses/by-nc-sa/4.0/

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Un campo reverberante : Hélio Oiticica, Lygia Pape y Edgardo Vigo

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