The concept of non-sheltered Painting and its practice in the School of Architecture of Valparaíso (1969-1992)
This article investigates the notion of non-sheltered painting, proposed by the painter, architect and professor Francisco Méndez Labbé in the School of Architecture and the Art Institute of the Catholic University of Valparaíso. The concept arose from a questioning of the traditional means of paint...
محفوظ في:
| المؤلف الرئيسي: | |
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| التنسيق: | Online |
| اللغة: | spa |
| منشور في: |
Universidad Diego Portales
2019
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| الوصول للمادة أونلاين: | https://www.revista180.udp.cl/index.php/revista180/article/view/590 |
| الوسوم: |
إضافة وسم
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| الملخص: | This article investigates the notion of non-sheltered painting, proposed by the painter, architect and professor Francisco Méndez Labbé in the School of Architecture and the Art Institute of the Catholic University of Valparaíso. The concept arose from a questioning of the traditional means of painting through a gradual abandonment of the surface, an idea that is inserted within a larger trajectory in which the artist sought both a detachment from the support and a relationship with the environment.Although it was formulated in 1979, when Méndez gave a workshop with that name, the experiences that questioned the medium began with the "signs" made in the poetic acts in the decade of the '60s and continued with abstract murals made between 1969 and 1973 in Valparaíso and the exercises of non-sheltered Painting, carried out in Ciudad Abierta (Ritoque) and in trips through Chile. During the '90s, and also developed at the Open Air Museum and in digital painting actions. In spite of their diversity, these proposals are united by the suppression of the limits and the questioning of the medium, which leads us to suggest a link with the notion of an expanded field defined by Rosalind Krauss.Krauss's ideas were introduced to the School by Claudio Girola, who linked him to his work; Méndez, for his part, did not quote the text, but —as we will demonstrate through his writings and exercises—in his work there is a reflection on the theory of the expanded field. We propose that this architect managed to adapt the approach of the North American historian to his work, suggesting an analysis of painting that surpassed the medial specificity to relate to the environment, thanks to a no longer two-dimensional and rigid support, but open and ambiguous. |
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