Dos bienales precursoras, dos senderos que se bifurcan
Posed within a degree seminar of this academic unit "”Mega-events of art. Contemporarycourses of a modern device"” and inscribed within the framework of a research project of its Secretary of Science and Technology "”Complex re-chainings between modern and contemporary artistic practi...
Guardado en:
| Autores principales: | , |
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| Formato: | Online |
| Lenguaje: | spa |
| Publicado: |
Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo
2021
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/4540 |
| Sumario: | Posed within a degree seminar of this academic unit "”Mega-events of art. Contemporarycourses of a modern device"” and inscribed within the framework of a research project of its Secretary of Science and Technology "”Complex re-chainings between modern and contemporary artistic practices"”, this work proposes to compare the origins, motivations and trajectories of two international art exhibitions that are among the pioneers of this type of event: the BienalHispanoamericana de Arte and the Bienal de São Paulo. Born in 1951 only days apart, these are the earlier exhibitions of their kind after the appearance, more than fifty years ago, of the then very famous Venice Biennale. The panoramic review of both over approximately five years "”period that includes the meager existence of the first one"” allows us to make a series of points aimed at reflecting on the role that mega-events of art have had in a period of passage from the Modernity of art towards its contemporaneity, and in relation to a corpus that involves our region |
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