The lost steps and abandoned houses: “The rose seller”
From Victor Gaviria ́s conception about his work which he has called “realism with witnesses”, to the discovery of a unique ethos that has been carried to recognize himself “as a snail that is leaving its home everywhere”. From the opening scene of The rose seller in which we see La Iguaná neighbo...
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| 第一著者: | |
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| フォーマット: | Online |
| 言語: | spa |
| 出版事項: |
Universidad Nacional de Colombia - Sede Bogotá - Facultad de Artes - Instituto de Investigaciones Hábitat, Ciudad & Territorio
2018
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| オンライン･アクセス: | https://revistas.unal.edu.co/index.php/bitacora/article/view/52101 |
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| 要約: | From Victor Gaviria ́s conception about his work which he has called “realism with witnesses”, to the discovery of a unique ethos that has been carried to recognize himself “as a snail that is leaving its home everywhere”. From the opening scene of The rose seller in which we see La Iguaná neighborhood, Andrea and Monica, Judi, Milton and 70 Avenue in Medellin, we boarded the image as a trigger for a series of events- concepts and correlates that allows us to re ect on other issues such as the concepts of border and boundary blurred and porous, the urban planning, the city, intimacy and its di erence between public and priva- te, the tissue of resistance and illusions from those children steeps on the streets and in the language, and the onslaught and ethical and aesthetic implications of the famous question of Chinga “What shoes if no home?”. |
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