Publication: La memoria del lugar: lo extraño y la forclusión en Gregor Schneider
Authors
Segura Cabañero, Jesús ; Simó Mulet, Toni
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Universidad de Caldas
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Description
© 2021. This manuscript version is made available under the CC-BY 4.0 license http://creativecommons.org/licenses/by/4.0/.This document is the Published version of a Published Work that appeared in final form in Revista KEPES. To access the final edited and published work see https://doi.org/10.17151/kepes.2021.18.24.5
Abstract
Nuestros objetivos en este artículo son, primeramente, abordar la investigación de la obra de Gregor Schneider como caso de estudio de arte de instalación, dentro de las manifestaciones del arte contemporáneo que utilizan recursos espacio-temporales. Seguidamente, vemos que la obra de Gregor Schneider es paradigmática en este sentido, ya que posibilita la transformación de las estructuras espaciales y arquitectónicas, en un ejemplo de cómo los artistas contemporáneos proponen nuevas vías para la definición de la instalación escultórica. Y finalmente, exploramos su obra a partir de los estudios visuales para intentar proponer nuevas formas de entendimiento de la obra, en relación al arte de instalación performativa y espacial. Metodológicamente, estructuramos la investigación en dos partes. En la primera parte, nos servimos del concepto de Freud de lo “Uncanny”, para entender la duplicación de los espacios en la obra de Gregor Schneider. Intentamos responder a la cuestión principal de su obra, el porqué de la duplicación de espacios. Entendiendo esta duplicación a través del término lacaniano de la “Forclusión”, nos centramos en sus obras Haus u r y Die Familie Schneider. En una segunda parte, analizamos y cuestionamos el papel que desempeña la idea de la memoria y la idea del trauma en relación al contexto en el que está situada su obra. Utilizamos los conceptos de la memoria, el tiempo, el trauma y los lugares desarrollados por Dylan Trigg como elementos que dan sentido a su obra. Por último, concluimos con la reconstrucción de la memoria desarrollada en las obras de Gregor Schneider, donde la idea de trauma implica una teatralización y una activación perceptiva del espectador.
The objectives in this article are: firstly, to approach the research of Gregor Schneider’s work as a case study of installation art within the manifestations of contemporary art that use spacetime resources; secondly, Gregor Schneider's work is seen as paradigmatic in this sense, since it enables the transformation of the spatial and architectural structures, in an example of how contemporary artists propose new ways to define the sculptural installation; and, thirdly, Schneider’s work is explored from the point of view of visual studies to try to propose new ways of understanding his work in relation to the art of performative and spatial installation. Methodologically, the research is structured in two parts. In the first part, Freud's concept of the “uncanny” is 108 used to understand the duplication of spaces in the work of Gregor Schneider. An answer to the main question of his work, the reason for the duplication of spaces,I s intended. Understanding this duplication through the Lacanian term “foreclosure”, the focus is mainly on his works Haus u r and Die Familie Schneider. In a second part, the role played by the idea of memory and the idea of trauma in relation to the context in which his work is situated are analyzed and questioned. The concepts of memory, time, trauma and places developed by Dylan Trigg are used as elements that give meaning to his work. Finally, the work is concluded with the reconstruction of memory developed in the works of Gregor Schneider, where the idea of trauma implies a theatricalization and perceptual activation of the viewer.
The objectives in this article are: firstly, to approach the research of Gregor Schneider’s work as a case study of installation art within the manifestations of contemporary art that use spacetime resources; secondly, Gregor Schneider's work is seen as paradigmatic in this sense, since it enables the transformation of the spatial and architectural structures, in an example of how contemporary artists propose new ways to define the sculptural installation; and, thirdly, Schneider’s work is explored from the point of view of visual studies to try to propose new ways of understanding his work in relation to the art of performative and spatial installation. Methodologically, the research is structured in two parts. In the first part, Freud's concept of the “uncanny” is 108 used to understand the duplication of spaces in the work of Gregor Schneider. An answer to the main question of his work, the reason for the duplication of spaces,I s intended. Understanding this duplication through the Lacanian term “foreclosure”, the focus is mainly on his works Haus u r and Die Familie Schneider. In a second part, the role played by the idea of memory and the idea of trauma in relation to the context in which his work is situated are analyzed and questioned. The concepts of memory, time, trauma and places developed by Dylan Trigg are used as elements that give meaning to his work. Finally, the work is concluded with the reconstruction of memory developed in the works of Gregor Schneider, where the idea of trauma implies a theatricalization and perceptual activation of the viewer.
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