![]() They are just a reflection of what was happening, but they are brought here by singular coincidence. The exceptional value of those works by Lorente, which were developed at a time of crisis in Modernity, has numerous examples of which, due to their coincidence in time, although with different techniques and narratives, were created at the same time, such as the works of the group of architects who founded OMA in 1975, later publishing in 1978, "Delirious New York" or those of Bernard Tschumi with the presentation of "The Manhattan Transcripts between 19". ![]() As happened to Piranesi, it is especially interesting to note how the Venetian only reworked the etching edition of the prison plates made in 1749, redrawing them again on the same plates in 1761 to accentuate both a discourse of spatial modernity and of implicit criticism of the ways of punishing, which underlay the debate of the time. realization and updating of Lorente, in times where the "fake news" miserably try to rewrite history.īeyond technique, I find the brilliant forcefulness of memory recovery especially timely, the effort to look back and intervene again on some fresh works, intense at the time and now green again from a vision of more than four decades. Lorente's reworking of his own works, recovering them, revising them and changing their format, is only possible from a conscious involvement to intensify a brilliant discourse of memory, which time always seems to blur and in which memory is so necessary and opportune. The context of crisis, of purposeful crisis and revision of Modernity, was covered by a context of reflection of views towards ways of seeing reality from a modern approach, and it would be unfair not to recognize how the influence of the announced and expectant bicentennial of the work by Giovanni Battista Piranesi in 1978 and especially the review of his series of "prisons" was especially relevant. Those years were also a time when drawing had a special relevance as a metalinguistic language, especially used by some architects in brilliant projects such as the case we are presenting. A debate at the end of the 18th century of the enlightened culture that would completely transform the ways of imprisonment in the 19th century, as an example, the typologies of new prisons such as panopticons built all over the planet. In 1975, Michel Foucault would publish a work that was especially timely for the moment "Discipline and Punish" (2), a reflection on the spatial transformations to confine and trap "people", a particularly relevant concept given the consideration that the identification of people in front of incarcerated had in the spatial transformation of the prison spaces. A copy of the license is included in the section entitled GNU Free Documentation License.Rafael Lorente's works were produced around 1977, in the second half of a decade and at a time of confirmation of a harsh reality that affected all aspects of culture. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. CC BY-SA 3.0 Creative Commons Attribution-Share Alike 3.0 true true share alike – If you remix, transform, or build upon the material, you must distribute your contributions under the same or compatible license as the original.You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made.to share – to copy, distribute and transmit the work.
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