Senografía 1975. Procesos del campo del arte chileno postgolpe y estrategias políticas en la obra de Carlos Leppe
What happened in the Chilean cultural field during the dictatorial period is a still valid debate that raises different positions. The most widespread speaks of a "cultural blackout", which would have been lived in the years after the coup d'état. However, despite the deep and undenia...
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| Autores principales: | , |
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| Formato: | Online |
| Lenguaje: | spa |
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Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo
2018
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/1484 |
| Sumario: | What happened in the Chilean cultural field during the dictatorial period is a still valid debate that raises different positions. The most widespread speaks of a "cultural blackout", which would have been lived in the years after the coup d'état. However, despite the deep and undeniable fracture that this caused, several institutions resumed their operation within a few months, and also a year later a series of independent galleries were inaugurated making the circulation of new artists possible. There is currently a tendency to investigate the era of the dictatorship, to give account, in the most documentary manner, of what happened in those years. Motivated by this impulse is that we recognize the importance of starting new research, capable of gathering those issues not studied, but that have fundamental roles when approaching works, artists or exhibitions held in that period. As is the case of Carlos Leppe and his work "El perchero" created for the exhibition "Senografía". |
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