Monsters of Inequality and Waste
The New Realism of Antonio Berni
Datos Bibliográficos
| ID | 2170394 |
|---|---|
| Autores | Guadalupe Gerardi (0000-0002-1713-713X, autor de correspondencia) |
| Año | 2020 |
| Volumen | 29 |
| Número | 4 |
| Páginas | 605-626 |
| Fecha de publicación | 2020-10-01 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Journal of Latin American Cultural Studies (JOURNAL) |
| Identificadores de la revista | ISSN: 1356-9325 • E-ISSN: 1469-9575 |
| Editorial | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/13569325.2021.1898353 |
| OpenAlex | W3145320258 |
| Idioma | EN |
| Referencias citadas | 11 |
This article examines the ways in which the work of the Argentine artist Antonio Berni (1905–1981) proposes renewed forms of realism engaged both with aesthetics and the socio-political order. Through the examination of Berni’s trajectory and with a special focus on Berni’s monsters made from reclaimed waste, this study draws on Jacques Rancière’s notion of dissensus to argue that art and politics come together in Berni’s monstrous constructions in the way in which they overturn customary modes within the realist representational order and simultaneously engender a transgressive and controversial art. In this, Berni’s work constitutes an original and daring proposal speaking to then-urgent political problems, such as unequal capitalist relationships and poverty, as well as delivering new insights on current ecological calamities
Aesthetics · Art · Economics · Epistemology · Focus (optics · Inequality · Order (exchange · Political science · Politics · Realism · Sociology · Transgressive · Art, Politics, and Modernism · Critical Theory and Political Philosophy · Cultural and Social Dynamics · Law · Philosophy
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |