Marta Traba: una relación filosófica entre la representación visual y textual. A propósito de la representación narrativa en la Historia del arte
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Universidad Santo Tomás, Bogotá, Colombia
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Desde algunas perspectivas de la filosofía de la historia del siglo XX, se ha planteado que el discurso de la historia, y singularmente del arte, invoca una estrategia narrativa que le permite representar una serie (trama) de eventos, a partir de la relación entre la historia y la representación visual y textual. Asimismo, y de la mano de tendencias semióticas que han indagado la écfrasis como estrategia de representación, proponemos que los textos históricos de y sobre el arte pueden ser entendidos como una diacronía en la que se produce una sustitución del espacio por el tiempo, toda vez que apreciamos en ellos una yuxtaposición de tiempos que enriquecen la comprensión y las interacciones entre el pasado y el presente del arte. Para lograr esta hipótesis, exploramos un caso paradigmático de la historia del arte en Latinoamérica, la Historia Abierta del Arte Colombiano de Marta Traba, para exponer conceptualmente cómo el discurso histórico se configura como la representación de una representación que permite entender la historia y su relación con la representación visual y textual.
From some perspectives of the philosophy of history, such as metahistory, it has been proposed that the discourse of history, and singularly of art, invokes a narrative strategy that allows it to represent a series (plot) of events, based on the relationship between history and visual and textual representation. Likewise, and hand in hand with semiotic tendencies that have investigated ekphrasis as a representation strategy, we propose that historical texts of and about art can be understood as a diachrony in which a substitution of space for time takes place, since we appreciate in them a juxtaposition of times that enrich the understanding and interactions between the past and the present of art. To achieve this hypothesis, we explore a paradigmatic case of art history in Latin America, Marta Traba's Historia Abierta del Arte Colombiano, to conceptually expose how the historical discourse is configured as the representation of a representation that allows us to understand history and its relationship with visual and textual representation.
From some perspectives of the philosophy of history, such as metahistory, it has been proposed that the discourse of history, and singularly of art, invokes a narrative strategy that allows it to represent a series (plot) of events, based on the relationship between history and visual and textual representation. Likewise, and hand in hand with semiotic tendencies that have investigated ekphrasis as a representation strategy, we propose that historical texts of and about art can be understood as a diachrony in which a substitution of space for time takes place, since we appreciate in them a juxtaposition of times that enrich the understanding and interactions between the past and the present of art. To achieve this hypothesis, we explore a paradigmatic case of art history in Latin America, Marta Traba's Historia Abierta del Arte Colombiano, to conceptually expose how the historical discourse is configured as the representation of a representation that allows us to understand history and its relationship with visual and textual representation.
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art history, representation, art, narrativism, history, historia del arte, representación, arte, narrativismo, historia
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https://creativecommons.org/licenses/by-nc-sa/4.0