Signo pictórico y signo escultórico en Francisco Méndez y Claudio Girola

Magdalena Dardel Coronado

doi:10.7764/Aisth.71.13

Signo pictórico y signo escultórico en Francisco Méndez y Claudio Girola

Translated title of the contribution: Pictorial Sign and Sculptural Sign in Francisco Méndez and Claudio Girola

Magdalena Dardel Coronado^*

^*Corresponding author for this work

Research output: Contribution to journal › Article › peer-review

Abstract

This paper studies the concept of sign in the painter Francisco Méndez and the sculptor Claudio Girola, members of the School of Architecture of Valparaíso. It will contextualize this practice, understood as an ephemeral plastic gesture associated with the poetic act, and will review some examples made by Girola in the Travesía Amereida (1965) and others led by Méndez in the travesías to Cape Froward (1984) and Curamahuida (1986). It will be suggested that the sign defined part of the individual work of these artists: in the case of Méndez, in the practice of the pintura no alberagda, and in that of Girola, in the material diversity employed. Finally, it will be proposed the existence of a signic turn that determined a particular aesthetic characterized by emergence and material precariousness.

Translated title of the contribution	Pictorial Sign and Sculptural Sign in Francisco Méndez and Claudio Girola
Original language	Spanish
Pages (from-to)	243-264
Number of pages	22
Journal	Aisthesis
Volume	71
DOIs	https://doi.org/10.7764/Aisth.71.13
State	Published - Jul 2022

Bibliographical note

Publisher Copyright:
© Instituto de Estética - Pontificia Universidad Católica de Chile.

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title = "Signo pict{\'o}rico y signo escult{\'o}rico en Francisco M{\'e}ndez y Claudio Girola",

abstract = "This paper studies the concept of sign in the painter Francisco M{\'e}ndez and the sculptor Claudio Girola, members of the School of Architecture of Valpara{\'i}so. It will contextualize this practice, understood as an ephemeral plastic gesture associated with the poetic act, and will review some examples made by Girola in the Traves{\'i}a Amereida (1965) and others led by M{\'e}ndez in the traves{\'i}as to Cape Froward (1984) and Curamahuida (1986). It will be suggested that the sign defined part of the individual work of these artists: in the case of M{\'e}ndez, in the practice of the pintura no alberagda, and in that of Girola, in the material diversity employed. Finally, it will be proposed the existence of a signic turn that determined a particular aesthetic characterized by emergence and material precariousness.",

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PY - 2022/7

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AB - This paper studies the concept of sign in the painter Francisco Méndez and the sculptor Claudio Girola, members of the School of Architecture of Valparaíso. It will contextualize this practice, understood as an ephemeral plastic gesture associated with the poetic act, and will review some examples made by Girola in the Travesía Amereida (1965) and others led by Méndez in the travesías to Cape Froward (1984) and Curamahuida (1986). It will be suggested that the sign defined part of the individual work of these artists: in the case of Méndez, in the practice of the pintura no alberagda, and in that of Girola, in the material diversity employed. Finally, it will be proposed the existence of a signic turn that determined a particular aesthetic characterized by emergence and material precariousness.

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KW - plastic fact

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KW - signic turn

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Signo pictórico y signo escultórico en Francisco Méndez y Claudio Girola

Abstract

Bibliographical note

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