Parangolé-Botticelli: installation thinking and practical reason of the art history. Transitional form and carnival geometry

Authors

  • Luis Pérez-Oramas

DOI:

https://doi.org/10.11606/issn.2178-0447.ars.2017.138471

Keywords:

Hélio Oiticica, Parangolés, Aby Warburg, transitional form

Abstract

The author extends the notion of theoretical object by Louis Marin to promote the interposition of anachronic elements among themselves, namely the work by Sandro Botticelli and the Parangolés created by Hélio Oiticica. Such association allows the author to establish certain similarities, a hypothesis called Parangolé-Botticelli and that intends, above all, to reflect upon the archeology of modern illusions. Thus, if the images by Botticelli communicate an Antiquity beyond Antiquity itself, the Parangolés by Oiticica talk about an art beyond the neoconcrete modernity with which the artist was involved

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Author Biography

  • Luis Pérez-Oramas
    Luis Pérez-Oramas nasceu em Caracas, Venezuela, em 1960. Possui o título de PhD em História da Arte pela École des Hautes Études en Sciences Sociales, Paris. Lecionou História da Arte em universidades como a Université de Haute Bretagne-Rennes 2; École Régionale Superieure des Beaux Arts de Nantes e Instituto de Estudios Superiores de Artes Plásticas Armando Reverón, em Caracas. Entre 1995 e 2002, foi curador da Coleção Patricia Phelps de Cisneros. Em 2003, tornou-se curador adjunto do Museu de Arte Moderna de Nova Iorque, e, em 2006, foi nomeado ao cargo Estrellita Brodsky de Curador de Arte Latino-americana para o Departamento de Desenhos e Gravuras, que ocupa atualmente. Foi ainda curador geral da 30a Bienal de São Paulo.

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Published

2017-10-27

Issue

Vol. 15 No. 30 (2017)

Section

Translations

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How to Cite

Pérez-Oramas, L. (2017). Parangolé-Botticelli: installation thinking and practical reason of the art history. Transitional form and carnival geometry. ARS, 15(30), 233-254. https://doi.org/10.11606/issn.2178-0447.ars.2017.138471