Notas sobre el instante, la memoria y el gesto en la obra de María Teresa Cano
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2017-06-16
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Universidad EAFIT
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El presente texto analiza algunas de las obras de la artista María Teresa Cano a la luz de las nociones de instante, memoria y gesto. El trabajo de Cano, poco revisado por la teoría y la historia del arte contemporáneo en Colombia, evidencia las rupturas que ocurrieron en los modos de representación durante la década del ochenta en el país. El arte participativo, el arte de acción, la incorporación de la comida como soporte y el uso de situaciones cotidianas como punto de referencia para varias obras objetuales sitúan el trabajo de la artista en un lugar poco común dentro de los estudios históricos del campo artístico nacional. Si bien la obra de Cano resulta extensa y plural en sus medios, interesa hacer algunas anotaciones a propósito del uso del cuerpo y el gesto, pues sus estrategias de trabajo constituyen un lugar escasamente visitado por artistas de su misma generación.
This paper analyzes some of the works of the artist Maria Teresa Cano in light of the notions of instant, memory and gesture. Cano's work, which has not been reviewed enough by the theory and history of contemporary art in Colombia, demonstrates the ruptures that occurred in the types of representation in the country during the eighties. Participatory art, action art, the inclusion of food as support and the use of everyday situations as a point of reference for various object-based works, place her work in an unusual place within the historical studies of the national art scene. Although Cano's work is extensive and varied in its media, some notes should be made about the use of the body and the gesture, since her work strategies constitute a place rarely visited by artists of her own generation.
This paper analyzes some of the works of the artist Maria Teresa Cano in light of the notions of instant, memory and gesture. Cano's work, which has not been reviewed enough by the theory and history of contemporary art in Colombia, demonstrates the ruptures that occurred in the types of representation in the country during the eighties. Participatory art, action art, the inclusion of food as support and the use of everyday situations as a point of reference for various object-based works, place her work in an unusual place within the historical studies of the national art scene. Although Cano's work is extensive and varied in its media, some notes should be made about the use of the body and the gesture, since her work strategies constitute a place rarely visited by artists of her own generation.