Herramienta de chequeo de registro xml obtenido desde Cuadernos de Historia del Arte

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	<dc:title xml:lang="en-US">Archives of history, archives of memory. Noemí Escandell’s graphic artwork</dc:title>
	<dc:title xml:lang="es-ES">Archivos de la historia, archivos de la memoria.  La gráfica de Noemí Escandell</dc:title>
	<dc:title xml:lang="fr-FR">Archives d'histoire, archives de mémoire. Le graphique de Noemí Escandell</dc:title>
	<dc:title xml:lang="pt-BR">Arquivos da história, arquivos da memória. A gráfica da Noemí Escandell</dc:title>
	<dc:title xml:lang="pt-PT">Arquivos da história, arquivos da memória. A gráfica da Noemí Escandell</dc:title>
	<dc:title xml:lang="ru-RU">Архивы истории, архивы памяти. Графика Ноэми Эсканделла</dc:title>
	<dc:creator>Lucero, María Elena</dc:creator>
	<dc:subject xml:lang="es-ES">Archivos</dc:subject>
	<dc:subject xml:lang="es-ES">Gráficos</dc:subject>
	<dc:subject xml:lang="es-ES">Memoria</dc:subject>
	<dc:subject xml:lang="es-ES">Montaje</dc:subject>
	<dc:subject xml:lang="en-US">archives</dc:subject>
	<dc:subject xml:lang="en-US">graphics</dc:subject>
	<dc:subject xml:lang="en-US">memory</dc:subject>
	<dc:subject xml:lang="en-US">montage</dc:subject>
	<dc:subject xml:lang="pt-BR">Arquivos</dc:subject>
	<dc:subject xml:lang="pt-BR">gráfica</dc:subject>
	<dc:subject xml:lang="pt-BR">memória</dc:subject>
	<dc:subject xml:lang="pt-BR">montagem</dc:subject>
	<dc:subject xml:lang="fr-FR">Archives</dc:subject>
	<dc:subject xml:lang="fr-FR">graphiques</dc:subject>
	<dc:subject xml:lang="fr-FR">mémoire</dc:subject>
	<dc:subject xml:lang="fr-FR">assemblage</dc:subject>
	<dc:subject xml:lang="ru-RU">ФАЙЛЫ</dc:subject>
	<dc:subject xml:lang="ru-RU">ГРАФИКИ</dc:subject>
	<dc:subject xml:lang="ru-RU">ПАМЯТЬ</dc:subject>
	<dc:subject xml:lang="ru-RU">СБОРКА</dc:subject>
	<dc:description xml:lang="en-US">The aim is of this research is to reconstruct the poetic and political discourse of plastic artist Noemí Escandell (1942-2019) by analyzing the formats, use of photographic archives and narrative thickness of her works created by the end of the sixties in articulation with other visual formulations of the nineties. In these productions, called handing works, the presence of montage as an aesthetic and comparative resource can be observed. Based on cultural, political and semantic repercussions, we will reflect on the visual devices generated in some of her works. For this purpose, links will be established with fundamental notions by Walter Benjamin and Peter Bürger on reproduction and montage, an avant-garde procedure later recovered in the neo-avant-gardes, as proposed by Hal Foster. Finally, the chained images resulting from the handing works will be reviewed in the light of Aby Warburg's studies, whose way of looking into documentary records and archives (whether or not included in the history of Western art) created a random approach in relation to traditional historiography.</dc:description>
	<dc:description xml:lang="es-ES">Esta investigación intenta reconstruir el discurso poético y político de la artista plástica Noemí Escandell (1942-2019) analizando los formatos, la utilización de archivos fotográficos y el espesor narrativo de sus trabajos hacia fines de los años sesenta, en articulación con otras formulaciones visuales de los noventa. En dichas producciones, denominadas handing works, se observa la presencia del montaje como recurso estético y comparativo. A partir de la repercusión cultural, política y semántica, reflexionaremos sobre los dispositivos visuales generados en algunas de sus obras. Con ese objetivo, se establecerán vínculos con nociones fundamentales de Walter Benjamin y Peter Bürger sobre la reproducción y el montaje, procedimiento vanguardista recuperado luego en las neovanguardias, tal como lo plantea Hal Foster. Finalmente, el encadenamiento de imágenes que proporcionan los handing works será revisado a la luz de los estudios de Aby Warburg, cuyo modo de examinar los archivos y registros documentales (incluidos o no en la historia del arte occidental) creó un abordaje aleatorio en relación a la historiografía tradicional.</dc:description>
	<dc:description xml:lang="fr-FR">Cette recherche tente de reconstruire le discours poétique et politique de l'artiste plasticien Noemí Escandell (1942-2019) analysant les formats, l'utilisation d'archives photographiques et l'épaisseur narrative de ses Å“uvres vers la fin des années soixante, en articulation avec d'autres formulations visuelles des années nonante. Dans ces productions, appelées handing works, on observe la présence de l'assemblage comme ressource esthétique et comparative. A partir de la répercussion culturelle, politique et sémantique, nous réfléchirons aux dispositifs visuels générés dans certaines de ses Å“uvres. Dans cet objectif, des liens seront établis avec les notions fondamentales de Walter Benjamin et Peter Bürger sur la reproduction et l'assemblage, une procédure d'avant-garde retrouvée plus tard dans les néo avant-gardes, comme proposé par Hal Foster. Enfin, la chaîne d'images fournies par la remise des Å“uvres sera revue à la lumière des études d'Aby Warburg, dont la manière d'examiner les archives et les documents documentaires (qu'ils soient ou non inclus dans l'histoire de l'art occidental) a créé une approche aléatoire par rapport à l’historiographie traditionnelle</dc:description>
	<dc:description xml:lang="pt-BR">Esta investigação tenta reconstruir o discurso poético e político da artista plástica Noemí Escandell (1942 - 2019) analisando os formatos, a utilização de arquivos fotográficos e a espessura narrativa dos seus trabalhos em direção a finais dos anos sessenta, na articulação com outras formulações visuais dos noventa. Em ditas produções, denominadas handing works, observa-se a presença da montagem como recurso estético e comparativo. A partir da repercussão cultural, política e semântica, refletiremos sobre os dispositivos visuais gerados em algumas das suas obras. Com esse objetivo, se estabelecerão vínculos com noções fundamentais de Walter Benjamin e Peter Bürger sobre a reprodução e montagem, procedimento vanguardista recuperado logo depois nas neo-vanguardias, tal como o expõe Hal Foster. Finalmente, o encadeamento de imagens que proporcionam os handing works será revisado à luz dos estudos de&amp;nbsp;&amp;nbsp; &amp;nbsp;Aby Warburg, cujo modo de examinar os arquivos e registros documentais (incluídos ou não na história da arte ocidental) criou uma abordagem aleatória em relação à historiografia tradicional.</dc:description>
	<dc:description xml:lang="ru-RU">Это исследование пытается восстановить поэтический и
политический дискурс художника-пластика Ноэми Эсканделла (1942-2019), анализ форматов, использование фотографических архивов и повествовательной толщины его работ к концу шестидесятых, в сочетании с другими визуальными формулировками&amp;nbsp; девяностых. В этих
роизводствах, называемых ручными работами, наблюдается наличие сборки как эстетического и сравнительного ресурса. От культурного, политического и семантического воздействия мы будем размышлять о визуальных устройствах, созданных в некоторых из его работ. С этой целью будут установлены связи с фундаментальными представлениями
&amp;nbsp;Вальтера Бенджамина и Питера Бюргера о воспроизводстве и сборке, авангардной процедуре, позже восстановленной в новых опекунствах, как говорит Хэл Фостер. Наконец, цепь изображений, предоставленных при вручении работ, будет пересмотрена в свете исследований Аби Варбурга, способ изучения архивов и документальных записей (включены
&amp;nbsp;или нет в истории западного искусства) создал случайный подход по отношению к традиционной историографии.
&amp;nbsp;</dc:description>
	<dc:publisher xml:lang="es-ES">Comité Editor IHA - Instituto de Historia del Arte  -  Facultad de Filosofía y Letras - Universidad Nacional de Cuyo</dc:publisher>
	<dc:date>2019-12-11</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="es-ES">Artículo evaluado por pares doble ciego.</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2774</dc:identifier>
	<dc:source xml:lang="en-US">Art History Notebooks; No. 33 (2019); 159-192</dc:source>
	<dc:source xml:lang="es-ES">CUADERNOS DE HISTORIA DEL ARTE; Núm. 33 (2019); 159-192</dc:source>
	<dc:source>2618-5555</dc:source>
	<dc:source>0070-1688</dc:source>
	<dc:language>spa</dc:language>
	<dc:relation>https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2774/2366</dc:relation>
</oai_dc:dc>

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