Categoría: Semiótica

La pieza número trece.

In 2019, an artist faced the tragic loss of his daughter, Irene. In the depths of his grief, he found it impossible to create. However, the outbreak of the pandemic propelled him back into his work sphere with an art exhibition focused on the pandemic and lockdown. The artist used his grief as a source of inspiration, creating a series of pieces using mostly black elements, including a painting covered with Irene’s leftover perfumes, a display with objects she created, and various pieces directly referencing her death. This tale underlines the potential of art as a form for cathartic expression, revealing the fusion of personal pain and creative expression.

Civiles croatas asesinados por un comando bosnio. Simeón Sainz.

No hay real. Todo es representación.

Simeón Saiz’s artwork depicts Croatian civilians murdered by a Bosnian commando, a scene derived from a television news report. His painting is a representation of a video frame showing a morgue filled with shrouded bodies lying in disarray, embodying the grim reality of death. This chain of interwoven representations serves to safely distance viewers from the disturbingly raw reality of the violence and its severe consequences in a way that the video did not.

Sobre el contenido de la obra de arte.

The content of an artwork is a complex topic, being shaped by diverse interpretations over time and influenced by various cultural, temporal, and individual factors. Content, or meaning, is not a tangible part of the artwork, but something intelligible ascribed to its expression or represented object. Interpretation of the content varies among artists, critics, historians, and viewers, depending on their cultural and semantic fields. Furthermore, the context, deeply tied to the interpretation, may expand the possible content of an artwork.

Benjamin Walter

¿Es el aura una superstición? Algunas consideraciones sobre el concepto de aura de W. Benjamin.

Marxist philosopher, W. Benjamin, argued the distinction between original artworks and their copies with the term ‘aura’. This concept groups the irreproducible uniqueness and authenticity inherent in original art. Benjamin suggests that technological reproduction atrophies the original’s aura. Yet, there’s a contradiction if the aura is tied to uniqueness, as mass reproduction would reduce the copy’s aura rather than affect the original. The aura remains intact in the original, despite its copies. The debate of the aura being objective or subjective continues, as it significantly impacts how artwork is perceived.