LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR
One of the definitions of “the uncanny” (das unheimliche) provided by Freud is locus suspectus: a "strange" and "familiar" place at the same time, to be or to inhabit. In addition, Trías argued that the uncanny is the "condition and limit" of beauty, but precisely becau...
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2020
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oai:ojs.revista180.cl:article-6422020-07-27T22:52:22Z LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR LOCUS SUSPECTUS: SOBRE LO SINIESTRO EN LA ARQUITECTURA DE ALFREDO JAAR Barría Chateau, Hernán Alberto Alfredo Jaar; art-architecture; the uncanny arquitectura, arte Alfredo Jaar; arte-arquitectura; lo siniestro One of the definitions of “the uncanny” (das unheimliche) provided by Freud is locus suspectus: a "strange" and "familiar" place at the same time, to be or to inhabit. In addition, Trías argued that the uncanny is the "condition and limit" of beauty, but precisely because it is presented to us with a familiar face. From this term, this article reviews a series of essays on the scope of the uncanny in art and architecture, to frame the work within public interventions of the architect Alfredo Jaar. A work that through the freedom that grants art to architecture, it reaches an intermediate state of poetic, political, and ethical and aesthetic connotations. Specifically, this work analyses and interprets The Skoghall Konsthall (2000), a pavilion of wood and paper built in a small community in Sweden, whose purpose was to expose the emptiness of our existence, if there were no art in our lives. With this, and while Jaar distinguishes the character of both arts, we could point out that, through the uncanny, his public interventions reach an architectural antipoetry: a practice that in times of theoretical-formal pluralism and ideological crisis of the discipline, achieves a dislocation of the established order to propose new ways of seeing and thinking about the world. Una de las definiciones de “lo siniestro” (das unheimliche) que aporta Freud es locus suspectus: un lugar “extraño” y “familiar” a la vez, para estar o habitar. En adición, Trías plantea que lo siniestro es “condición y límite” de lo bello, pero que precisamente por serlo se nos presenta con rostro familiar. A partir de este término, este artículo revisa una serie de ensayos sobre los alcances de lo siniestro en el arte y la arquitectura para enmarcar el trabajo en las intervenciones públicas del arquitecto Alfredo Jaar. Trabajo que a través de la libertad que otorga el arte a la arquitectura, alcanza un estado intermedio de connotaciones poéticas, políticas; éticas y estéticas. Específicamente, se analiza e interpreta The Skoghall Konsthall (2000), un pabellón de madera y papel realizado en una pequeña comunidad en Suecia, cuyo propósito fue evidenciar el vacío de nuestra existencia si no hubiera arte en nuestras vidas. Con esto, y si bien Jaar distingue el carácter propio de ambas artes, podríamos señalar que a través de lo siniestro, sus intervenciones públicas alcanzan una antipoética arquitectónica; una práctica que en tiempos de pluralismo teórico-formal y de crisis ideológica de la disciplina, logra dislocar el orden establecido a fin de plantear nuevas maneras de ver y pensar el mundo. Universidad Diego Portales 2020-07-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://www.revista180.udp.cl/index.php/revista180/article/view/642 10.32995/rev180.Num-45.(2020).art-642 Revista 180; Núm. 45 (2020) Revista 180; Núm. 45 (2020) 0718-669X 0718-2309 spa https://www.revista180.udp.cl/index.php/revista180/article/view/642/441 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/642/1138 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/642/1139 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/642/1140 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/642/1216 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/642/1217 https://www.revista180.udp.cl/index.php/revista180/article/downloadSuppFile/642/1218 Copyright (c) 2020 Revista 180 https://creativecommons.org/licenses/by/4.0 |
| institution |
Universidad Diego Portales |
| collection |
OJS |
| language |
spa |
| format |
Online |
| author |
Barría Chateau, Hernán Alberto |
| spellingShingle |
Barría Chateau, Hernán Alberto LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR |
| author_facet |
Barría Chateau, Hernán Alberto |
| author_sort |
Barría Chateau, Hernán Alberto |
| title |
LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR |
| title_short |
LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR |
| title_full |
LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR |
| title_fullStr |
LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR |
| title_full_unstemmed |
LOCUS SUSPECTUS: THE UNCANNY IN THE ARCHITECTURE OF ALFREDO JAAR |
| title_sort |
locus suspectus: the uncanny in the architecture of alfredo jaar |
| description |
One of the definitions of “the uncanny” (das unheimliche) provided by Freud is locus suspectus: a "strange" and "familiar" place at the same time, to be or to inhabit. In addition, Trías argued that the uncanny is the "condition and limit" of beauty, but precisely because it is presented to us with a familiar face. From this term, this article reviews a series of essays on the scope of the uncanny in art and architecture, to frame the work within public interventions of the architect Alfredo Jaar. A work that through the freedom that grants art to architecture, it reaches an intermediate state of poetic, political, and ethical and aesthetic connotations. Specifically, this work analyses and interprets The Skoghall Konsthall (2000), a pavilion of wood and paper built in a small community in Sweden, whose purpose was to expose the emptiness of our existence, if there were no art in our lives. With this, and while Jaar distinguishes the character of both arts, we could point out that, through the uncanny, his public interventions reach an architectural antipoetry: a practice that in times of theoretical-formal pluralism and ideological crisis of the discipline, achieves a dislocation of the established order to propose new ways of seeing and thinking about the world. |
| publisher |
Universidad Diego Portales |
| publishDate |
2020 |
| url |
https://www.revista180.udp.cl/index.php/revista180/article/view/642 |
| work_keys_str_mv |
AT barriachateauhernanalberto locussuspectustheuncannyinthearchitectureofalfredojaar AT barriachateauhernanalberto locussuspectussobrelosiniestroenlaarquitecturadealfredojaar |
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