Espacios disponibles I. : Liminalidad e hibridación lingüística en la escultura de campo expandido

Jesús Marín-Clavijo

doi:10.24310/Umatica.2020.v2i3.11189

Available spaces I.

Liminality and linguistic hybridity in expanded field sculpture.

Authors

Jesús Marín-Clavijo Universidad de Málaga Spain https://orcid.org/0000-0001-8283-3951

DOI:

https://doi.org/10.24310/Umatica.2020.v2i3.11189

Keywords:

Liminality, Contemporary Art, Photoluminocinetism, Sculpture, hybridisation

Abstract

This photographic series or photo-essay is the result of the research project La escultura como interfaz histórico de luz sólida of the Plan Propio of the University of Málaga, which consists of experimental artistic research based on the language of sculpture and its hybridisations with other disciplines, such as photography. To do this I have used methodological tools such as site-specific intervention, Photolumino-kinetics and the possibilities that expanded field sculpture offers in terms of the narratives that the significant object of the chosen environment can offer to what happens in it.

Photolumino-kinetics is a hybridisation between sculptural and photographic language, it is the theoretical corpus of my main thesis Photography as a medium for sculpture in movement, and one of my main lines of artistic research. The plastic experimentation focuses on the photolumino-kinetic intervention, or photography in prolonged exposure while acting with luminous elements in movement, in different parts of the building, arches of its façades and internal areas. Through a dialogue with its architecture, with the chosen environment, the artistic work transfers meaning to it, increasing its monumental and statuary charge, and this, in turn, endows the artistic work with poetic narrative.

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References

Marín-Clavijo, J., et al. (2015) La captura de la luz en movimiento como medio escultórico [en línea]. Universidad de Málaga. Disponible en: <http://hdl.handle.net/10630/10501> [Consulta: 1 de julio de 2020].

Lomelí Ponce, J. (2014). El límite como concepto plástico en la obra de Eduardo Chillida. Una lectura desde la filosofía del límite de Eugenio Trías. En-claves del pensamiento, 8(15), 13-37.

Van Gennep, A. (1969). The Rítes of Passage. Chicago: The University of Chicago Press.

Turner, V. (1967). The Forest of Symbols, Nueva York: Ithaca [traducción castellana: La selva de los símbolos], Siglo XXI, Madrid, 1980.

Trías, E. (1986). Los límites del mundo. El Ciervo, 35(423), 39-39.

Trías, E. (2006). La idea de límite. En La interpretación del mundo: cuestiones para el tercer milenio (pp. 169-190). Anthropos.

Foucault, M. (1978). Espacios otros: utopías y heterotopías. Carrer de la Ciutat, 1978, núm. 1.

Cascone, S. (2014). Artist Renders East River Flows in Light Graffiti. Artnet [en linea]. Ref. 1 de agosto de 2014. Disponible en: <http://news.artnet.com/in-brief/artist-renders-emeast-river-flowsem-in-lightgraffiti-70748> [Consulta: 27/01/2021].

Takuo, K. (2000). Breathing Light: The World of Tokihiro Sato. Photoarts [en linea]. Disponi-ble en: <http://photoarts.com/gallery/SATO/satoexh.html> [Consulta: 27/01/2021].

Girardin, D. (2020). Jacques Pugin: nota biográfica. Jacques Pugin [en linea]. Disponible en: <http://www.jacquespugin.ch/detailbio?id=152> [Consulta: 27/01/2021].

#03 ESPACIO PÚBLICO Y TEJIDO SOCIAL_ Portada de Rogelio López Cuenca_ Mapa de Valencia (2015)_ MNCARS

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Published

2020-12-30

How to Cite

Marín-Clavijo, J. (2020). Available spaces I. : Liminality and linguistic hybridity in expanded field sculpture. UMÁTICA. Journal on Image Creation and Analysis, 2(3), 265–285. https://doi.org/10.24310/Umatica.2020.v2i3.11189

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Issue

No. 3 (2020): Public Space and Social Fabric: Collaborative Art in times of Crisis

Section

VISUAL ESSAY

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