"La adolorida de Bucay" (Zúñiga Albán-1994): analysis from the Theoretical Bases of the Neo-baroque Sarduy
Abstract
“La Adolorida de Bucay” (1994) is a Neobaroque work by Ecuadorian artist Hernán Zuñiga Albán, whose nature broke inherited artistic representational codes from the modern times and subverted meanings by resemantizing the original image (Image of "La Dolorosa"), product of the gesture of appropriation carried out by the artist. This article demonstrates its formal and aesthetic nature through a hermeneutical analysis, based on the theoretical precepts of the Latin American Neobaroque, as proposed by Severo Sarduy. We conclude that typical mechanisms of artificialization of the Neobaroque Sarduyano (baroque, artifice, parody, eroticism, mirror and revolution) are present in this image, which account for a representation statute that subverted the meaning of the original image (resemantized image).Keywords
Art Work, Artistic Creation, Aesthetics, SemanticsPublished
2018-03-06
How to Cite
Gavilanes Yanes, P. V., Ortega Astudillo, R. L., & Rendón Jaluff, I. A. (2018). "La adolorida de Bucay" (Zúñiga Albán-1994): analysis from the Theoretical Bases of the Neo-baroque Sarduy. Athenea Digital. Revista De Pensamiento E investigación Social, 18(1), 255–268. https://doi.org/10.5565/rev/athenea.1732
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Copyright (c) 2017 Patricia Violeta Gavilanes Yanes
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