{"id":1116,"date":"2023-04-11T00:57:49","date_gmt":"2023-04-11T00:57:49","guid":{"rendered":"https:\/\/tirinha.com\/a-proporcao-humana-quando-a-escultura-quis-acabar-com-o-canone\/"},"modified":"2023-04-11T00:57:49","modified_gmt":"2023-04-11T00:57:49","slug":"%d1%87%d0%b5%d0%bb%d0%be%d0%b2%d0%b5%d1%87%d0%b5%d1%81%d0%ba%d0%b8%d0%b5-%d0%bf%d1%80%d0%be%d0%bf%d0%be%d1%80%d1%86%d0%b8%d0%b8-%d0%b2-%d1%81%d0%ba%d1%83%d0%bb%d1%8c%d0%bf%d1%82%d1%83%d1%80%d0%b5","status":"publish","type":"post","link":"https:\/\/tirinha.com\/ru\/1116\/a-proporcao-humana-quando-a-escultura-quis-acabar-com-o-canone\/","title":{"rendered":"\u0427\u0435\u043b\u043e\u0432\u0435\u0447\u0435\u0441\u043a\u0430\u044f \u043f\u0440\u043e\u043f\u043e\u0440\u0446\u0438\u044f: \u043a\u043e\u0433\u0434\u0430 \u0441\u043a\u0443\u043b\u044c\u043f\u0442\u0443\u0440\u0430 \u0445\u043e\u0442\u0435\u043b\u0430 \u043f\u043e\u043b\u043e\u0436\u0438\u0442\u044c \u043a\u043e\u043d\u0435\u0446 \u043a\u0430\u043d\u043e\u043d\u0443"},"content":{"rendered":"<p> [ad_1]<br \/>\n<\/p>\n<div id=\"article-body-content\" data-action=\"toggle\" data-status=\"on\">\n<p class=\"paragraph\" id=\"paragraph_1\">At\u00e9 bem no s\u00e9culo 20 <strong>a escultura era antropom\u00f3rfica<\/strong>: al\u00e9m de animais sagrados e esculturas ou relevos com motivos ornamentais ou simb\u00f3licos, ele representou seres humanos e o fez de acordo com um c\u00e2none que variou de acordo com a cultura e o tempo.  Os corpos eg\u00edpcios mediam dezoito punhos, os de Pol\u00edclito e F\u00eddias sete cabe\u00e7as e um ter\u00e7o, os de Praxiteles oito e os de D\u00fcrer nove; <strong>Leonardo inscreveu o &#8220;homem vitruviano&#8221; em um c\u00edrculo<\/strong> e Le Corbusier formulou \u201cEl Modulor\u201d \u2014com seis p\u00e9s de altura\u2014, baseado como o c\u00e2none leonardesco na Se\u00e7\u00e3o \u00c1urea, que conhecemos desde o Renascimento Luca Pacioli como a Divina Propor\u00e7\u00e3o, garantia de beleza e harmonia.<\/p>\n<p class=\"paragraph\" id=\"paragraph_2\">Esta necess\u00e1ria exposi\u00e7\u00e3o, comissariada por <strong>Pen\u00e9lope Curtis<\/strong> (ex-director da Tate Modern e do Museu Gulbenkian) com <strong>Manuel Fontan del Junco<\/strong> e <strong>In\u00eas Vallejo<\/strong>explica como depois da Segunda Guerra Mundial n\u00e3o se trata mais de criar est\u00e1tuas de acordo com um c\u00e2none, mas de converter sistemas de medi\u00e7\u00e3o \u2014matem\u00e1ticos, geom\u00e9tricos, geogr\u00e1ficos e at\u00e9 temporais\u2014 em um tema ou ferramenta definidora da escultura, mas ainda com <strong>o corpo humano como \u00faltima refer\u00eancia<\/strong>.  Ele nos confronta com a escala como princ\u00edpio escult\u00f3rico.<\/p>\n<p class=\"paragraph\" id=\"paragraph_3\">E f\u00e1-lo n\u00e3o apenas sob a forma de um percurso hist\u00f3rico: a montagem de uma exposi\u00e7\u00e3o de <strong>mais de cem pe\u00e7as<\/strong>, numa pequena sala como esta, obriga-nos a prescindir das dist\u00e2ncias que seriam desej\u00e1veis \u200b\u200bpara nos &#8220;medirmos&#8221; adequadamente com as obras, n\u00e3o tanto nas paredes como nos plintos ou mesas onde se acumularam pe\u00e7as muito d\u00edspares .  Isso causa interfer\u00eancias que nos tornam precisamente mais conscientes das correla\u00e7\u00f5es espaciais de que nos falam.<\/p>\n<p class=\"paragraph\" id=\"paragraph_4\"><em>[Los \u00faltimos a\u00f1os del escultor Juan Mu\u00f1oz: regreso a su arte m\u00e1s reconocido]<\/em><\/p>\n<p class=\"paragraph\" id=\"paragraph_5\">Mas compensamo-nos com as obras instaladas com grande relevo no jardim cont\u00edguo da Banca March, &#8220;ocupado&#8221; pela primeira vez por uma exposi\u00e7\u00e3o, e que nos recordam como pode ser feliz <strong>a presen\u00e7a de arte ao ar livre<\/strong>.  Al\u00e9m disso, foi projetado um passeio sonoro nas imedia\u00e7\u00f5es que remete \u00e0 escala musical.<\/p>\n<p class=\"paragraph\" id=\"paragraph_6\">No interior, a ordem n\u00e3o \u00e9 cronol\u00f3gica, mas levanta alguns dos aspectos mais significativos da escala, embora comece por obras de pioneiros como <strong>david smith<\/strong>, Isamu Noguchi, Henry Moore e Alberto Giacometti.  quando estiver completo <em>choque<\/em> Ap\u00f3s a guerra, o monumento deixou de fazer sentido, alguns artistas precisaram delimitar seu espa\u00e7o emocional, e surgiu uma figura \u2014mut\u00e1vel mas reiterada\u2014 que expressava a ideia de ref\u00fagio: a caixa, a jaula, o recinto, a casa de boneca .<\/p>\n<blockquote class=\"content__blockquote\">\n<p class=\"blockquote__quote\">Esta necess\u00e1ria exposi\u00e7\u00e3o explica como, ap\u00f3s a Segunda Guerra Mundial, n\u00e3o se trata mais de criar est\u00e1tuas de acordo com um c\u00e2none<\/p>\n<\/blockquote>\n<p class=\"paragraph\" id=\"paragraph_7\"><strong>fausto melotti<\/strong>, <strong>Carol Visser<\/strong>Louise Bourgeois, Juan Munoz, <strong>Lili Dujourie<\/strong> ou Francisco Tropa configuram pequenos arm\u00e1rios que metaforicamente abrigam a vida mental e criativa.  De particular interesse s\u00e3o as obras que se inspiram no sistema de reprodu\u00e7\u00e3o ou amplia\u00e7\u00e3o com gaiola e pontos, que afetam a import\u00e2ncia da medida para a forma.<\/p>\n<p class=\"paragraph\" id=\"paragraph_8\">A esta primeira se\u00e7\u00e3o, a mais subjetiva, segue-se um cat\u00e1logo de exerc\u00edcios especulativos de medi\u00e7\u00e3o nas d\u00e9cadas de 1960 e 1970. Partindo das &#8220;paradas padr\u00e3o&#8221; de Duchamp, examinamos o &#8220;metro c\u00fabico do infinito&#8221; de Pistoletto, o &#8220;sistema imperial&#8221; de <strong>Bill Woodrow<\/strong> ou, na filmagem e na fotografia, expandindo assim a pr\u00e1tica escult\u00f3rica para meios estrangeiros, os movimentos padronizados de Charles e Ray Eames (em pot\u00eancias de 10, do c\u00f3smico ao microsc\u00f3pico) e John Hilliard (em passos, ao caminhar).<\/p>\n<div class=\"article-media  article-media--left \" itemscope=\"\" itemtype=\"http:\/\/schema.org\/ImageObject\">\n<p><img fetchpriority=\"high\" decoding=\"async\" alt=\"Nic Tenwiggenhorn \u00a9 2022 Scala, Florence\/bpk, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin \u00a9 Katharina Fritsch, VEGAP, Madrid, 2023\" height=\"1634\" src=\"https:\/\/s1.eestatic.com\/2023\/04\/10\/actualidad\/755185080_232316595_1706x1634.jpg\" width=\"1706\" data-lazy-status=\"processed\" data-lazy-info=\"remove loading item 1\"\/><\/p>\n<div class=\"article-media__caption\">\n<p>\n                    <span class=\"article-media__caption-description\"><\/p>\n<p>                                    Nic Tenwiggenhorn \u00a9 2022 Scala, Florence\/bpk, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin \u00a9 Katharina Fritsch, VEGAP, Madrid, 2023<br \/>\n                            <\/span><\/p>\n<\/div><\/div>\n<p class=\"paragraph\" id=\"paragraph_9\">A seguir, uma ampla amostra de constru\u00e7\u00f5es por adi\u00e7\u00e3o de unidades, progress\u00f5es e permuta\u00e7\u00f5es, e o cubo como <em>motivo condutor<\/em>.  Hans Haacke, <strong>por Kirkeby<\/strong>Sol LeWitt, Bruce Nauman, Cildo Meireles, Felix Gonzalez-Torres ou <strong>Fiona Banner<\/strong> destacam-se nesta se\u00e7\u00e3o, o que leva a outra em propor\u00e7\u00e3o.  A escala arquitet\u00f4nica torna-se aqui o tema dominante e adquire um tom cr\u00edtico nas obras de Dan Graham, Thomas Sch\u00fctte, <strong>martin honert<\/strong> qualquer <strong>Chris Burden<\/strong>.<\/p>\n<p class=\"paragraph\" id=\"paragraph_10\">Como liga\u00e7\u00e3o ao exterior, as maquetas das grandes esculturas que envolvem o edif\u00edcio (Chillida, Sempere, <strong>torneiro<\/strong>, <strong>igrejas<\/strong>\u2026) e, j\u00e1 no jardim, a reprodu\u00e7\u00e3o \u00e0 escala 1:4 de obras que participaram no Skulptur Projekte M\u00fcnster entre 1977 e 2007, da autoria de Dominique Gonzalez-Foerster, e o Mini ampliado para 130 s\u00e3o particularmente adequados ao argumento da exposi\u00e7\u00e3o. % por <strong>Elizabeth Wright<\/strong>.  Os mecanismos de percep\u00e7\u00e3o s\u00e3o sublinhados nesta \u00e1rea: nossa percep\u00e7\u00e3o individual.  Afinal, como diria Prot\u00e1goras, \u201co homem \u00e9 a medida de todas as coisas\u201d.<\/p>\n<p><span class=\"follow-topics-title__icon\"\/>Siga os t\u00f3picos que lhe interessam<\/p>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>[ad_1] At\u00e9 bem no s\u00e9culo 20 a escultura era antropom\u00f3rfica: al\u00e9m de animais sagrados e esculturas ou relevos com motivos &hellip; <\/p>\n","protected":false},"author":1,"featured_media":1117,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/s1.eestatic.com\/2023\/04\/10\/el-cultural\/arte\/exposiciones\/755185077_232319699_1200x630.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-1116","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A Propor\u00e7\u00e3o Humana: quando a escultura quis acabar com o c\u00e2none - 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