Algunas reflexiones desde la acuarela de Mario Conde

Pamela Romano

Abstract


This brief reflection on the work of Mario Conde starts paying attention to the special relationship the artist has with the watercolor technique, deploying from that relationship a copy-based ethics. From that materiality Conde builds his response to the postmodern moment in which art in general, and particularly Bolivian art, is been developed given its current social conditions. The ethics of the copy is explored especially in two of his works: "Exterminator Angel" where  copying addresses colonial issues that return to question and challenge the very notion of homeland, and "Drunk with power (Géricault in Los Andes)" where the copy,  adapted to Andean latitudes, exudes a desire to restore the sacred and  auratic character of artwork as well as of the Andean imagery.

Esta breve reflexión sobre la obra de Mario Conde se inicia poniendo atención en la relación particular que tiene el pintor con la técnica de la acuarela, desplegando desde esa relación una ética basada en la copia. Desde esa materialidad Conde concretiza su respuesta al momento posmoderno en que se desarrolla el arte en general, y el boliviano en particular dadas sus condiciones sociales actuales. La ética de la copia es explorada especialmente en dos de sus obras: “Ángel exterminador” donde la copia aborda temáticas coloniales que retornan para poner en cuestión y entredicho la noción de patria, y “Ebrios de poder (Géricault en Los Andes)” donde la copia adaptada a latitudes andinas destila un deseo de restablecer el carácter sagrado y aurático de la obra de arte como del imaginario andino.


Keywords


Andean baroque, Andean decolonizing patchwork, culture of simulacrum, ethics of copying, postmodern aesthetics, watercolor - acuarela, barroco andino, cultura del simulacro, estética postmoderna, ética de la copia, remiendo andino descolonizador



DOI: https://doi.org/10.5195/bsj.2012.61

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Copyright (c) 2014 Pamela Romano

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