Construir un problema necesario, 2019, Eugenio Ampudia, foto 1
Construir un problema necesario, 2019, Eugenio Ampudia, foto 2
Construir un problema necesario, 2019, Eugenio Ampudia, foto 3
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Build a necessary problem
その他
Build a necessary problem directs the focus towards the concept of dematerialization of architecture together with the symbolic dismantling of the artistic apparatus. At the same time, he critically points out the idea of the museum as a temple, emphasized in the case of the Guggenheim by the idea that Frank Lloyd Wright was inspired by the figure of the ziggurats, temples or dwellings of the gods in ancient Mesopotamia.
There is an expansive and reproductive vocation towards the brand-museum in the dynamic international cultural industry, supported by the absurd role of containers that they are still self-assigned today.
John Chandler and Lucy Lippard, in "The Dematerialization of Art", point out 1945 as the turning point in which the preponderance of the emotional and the intuitive in the creative process gives way to the development of thought as an exclusive element in the construction of content in the works of art. Chandler and Lippard justified this transition as the origin of the dematerialization of the object and identify the possible risk of the disintegration of criticism as it is known today.
Eugenio Ampudia proposes with this piece another type of negotiation with the space and a search for new symbolic articulations. Modernity and the concepts associated with it are subject to a process of dematerialization, connecting with the paradigm change mentioned above and contemporary of that period.
The artist thus appeals to the sense of humor to examine Modernity from a more ironic side, and, as usual in Ampudia's work, thus offering a review and rereading of the history of art, and the position from which This one has been told to us.
There is an expansive and reproductive vocation towards the brand-museum in the dynamic international cultural industry, supported by the absurd role of containers that they are still self-assigned today.
John Chandler and Lucy Lippard, in "The Dematerialization of Art", point out 1945 as the turning point in which the preponderance of the emotional and the intuitive in the creative process gives way to the development of thought as an exclusive element in the construction of content in the works of art. Chandler and Lippard justified this transition as the origin of the dematerialization of the object and identify the possible risk of the disintegration of criticism as it is known today.
Eugenio Ampudia proposes with this piece another type of negotiation with the space and a search for new symbolic articulations. Modernity and the concepts associated with it are subject to a process of dematerialization, connecting with the paradigm change mentioned above and contemporary of that period.
The artist thus appeals to the sense of humor to examine Modernity from a more ironic side, and, as usual in Ampudia's work, thus offering a review and rereading of the history of art, and the position from which This one has been told to us.
