MARC Record from marc_columbia

LEADER: 03511cam a2200493Ii 4500
001 15987221
005 20220328130515.0
008 220128s2021 ag ah b 000 0dspa d
035 $a(OCoLC)on1295226894
040 $aH7K$beng$erda$cH7K$dBP1$dOCLCO$dJPG$dOCLCF
020 $a9789878696782
020 $a9878696782
035 $a(OCoLC)1295226894
041 0 $aspa$aeng
043 $as-ag---
050 4 $aN6639.A23$bA4 2021
049 $aZCUA
245 00 $aPablo Accinelli :$b2020 /$ctextos, Claudio Iglesias, Valentina Liernur.
250 $aPrimera edición.
264 1 $aCiudad Autónoma de Buenos Aires :$bGalería Luisa Strina,$c2021.
300 $a239 pages :$billustrations (chiefly color), facsimile ;$c22 cm.
336 $astill image$bsti$2rdacontent
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references.
505 8 $a"Una experiencia sumamente colectiva": La plasticidad de la percepción, los medios y las capacidades según algunos trabajos recientes de Pablo Accinelli = 'A Wholly Collective Experience': The Plasticity of Perception, the Medium and Capacities in the Light of Recent / Claudio Iglesias -- Works by Pablo Accinelli: 5/2020 = 05/2020 / Valentina Liernur -- Notas biográficas = Biographical notes.
520 $a"Pablo's sculptures have an open relationship with the concept of tools. An exploratory relationship that tries out different systems. In his first exhibitions the artistic object was a sort of tool for study. But by Cae la tarde [Dusk Falls, 2016], Lontano [Remote, 20171. Nubes de paso [Passing Clouds, 2018] and Núcleo [Nucleus, 20191, this functional core appears to have integrated a new purpose that I interpret as being ceremonial, closer to the functional models of Lygia Clark and Hélio Oiticica. The artwork as focused on an energetic core as a kind of instrument to emphasize the sensations of being alive with no need to reconcile contrasts within a system of rational units. The interesting thing is that all tools are accompanied by their opposite, an awareness of death that dates all the way back to the beginning of humanity. That which annuls and denies the value of the action of the tool. This irreconcilable opposition defines our mental state: in fact, funeral art appeared alongside the first rudimentary stone tools. So, there's being alive, the uses of a tool, expecting something and awareness of death." --Page 195.
546 $aTexts in Spanish and English.
600 10 $aAccinelli, Pablo,$d1983-
650 0 $aSite-specific installations (Art)$zArgentina.
650 6 $aInstallations in situ (Art)$0(CaQQLa)201-0358018$zArgentine.$0(CaQQLa)201-0392560
650 6 $aSculpture argentine$0(CaQQLa)000267227$y21e siècle.$0(CaQQLa)201-0373679
650 7 $aSculptors.$2fast$0(OCoLC)fst01109473
650 7 $aSculpture, Argentine.$2fast$0(OCoLC)fst01109541
650 7 $aSite-specific installations (Art)$2fast$0(OCoLC)fst01119791
651 7 $aArgentina.$2fast$0(OCoLC)fst01205614
648 7 $a2000-2099$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aAccinelli, Pablo,$d1983-$eartist.
700 1 $aLiernur, Valentina,$d1978-,$ewriter of supplementary textual content.
700 1 $aIglesias, Claudio,$d1982-$ewriter of supplementary textual content.
710 2 $aGaleria Luisa Strina,$eissuing body.
852 00 $boff,fax$hN6639.A23$iA4 2021g