The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos
This paper discusses the concept of avant-garde in arts in two aspects. On the one hand, avant-garde does not always manifest itself as a homogeneous, programmatic and «conscious» movement that defies the long-established processes in the artistic system, which is already part of the canonical conce...
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| Language: | Russian |
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Moscow State Institute of International Relations (MGIMO)
2025-07-01
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| Series: | Ибероамериканские тетради |
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| Online Access: | https://www.iberpapers.org/jour/article/view/690 |
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| author | M. G. Fressoli G. M.M. Schuster |
| author_facet | M. G. Fressoli G. M.M. Schuster |
| author_sort | M. G. Fressoli |
| collection | DOAJ |
| description | This paper discusses the concept of avant-garde in arts in two aspects. On the one hand, avant-garde does not always manifest itself as a homogeneous, programmatic and «conscious» movement that defies the long-established processes in the artistic system, which is already part of the canonical concept of avant-garde. On the other hand, the avant-garde can be defined through the prism of cases that, in an episodic way, contradict the ways in which art had been understood in Argentina until then. At the same time, the works studied were part of a debate on the avant-garde that was taking place at the same time as the national system of modern painting was being developed. Two works by Pío (Alberto) Collivadino, painted in 1924 and 1935 respectively, and another by Florencio Molina Campos painted in 1949, show that these artists set the picture plane with a view to creating a total work of art that overcomes the divisions that existed in the art at the time. In the case of Pío Collivadino, he relied on his relationship with the arts, namely painting and performing arts, and with crafts, whereas Florencio Molina Campos sought to combine painting, literature, cinema and audiovisual arts in his work. In this sense, it is argued that these works contribute to the constitution of the national avant-garde. |
| format | Article |
| id | doaj-art-84789cf85f75429f89752e3ebfb1eace |
| institution | Kabale University |
| issn | 2409-3416 2658-5219 |
| language | Russian |
| publishDate | 2025-07-01 |
| publisher | Moscow State Institute of International Relations (MGIMO) |
| record_format | Article |
| series | Ибероамериканские тетради |
| spelling | doaj-art-84789cf85f75429f89752e3ebfb1eace2025-08-20T03:59:03ZrusMoscow State Institute of International Relations (MGIMO)Ибероамериканские тетради2409-34162658-52192025-07-0113212814410.46272/2409-3416-2025-13-2-128-144628The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina CamposM. G. Fressoli0G. M.M. Schuster1National University of Tres de Febrero; Institute of Theory and History of Art «Julio E. Payró»University of Buenos Aires; Institute of Theory and History of Art «Julio E. Payró»This paper discusses the concept of avant-garde in arts in two aspects. On the one hand, avant-garde does not always manifest itself as a homogeneous, programmatic and «conscious» movement that defies the long-established processes in the artistic system, which is already part of the canonical concept of avant-garde. On the other hand, the avant-garde can be defined through the prism of cases that, in an episodic way, contradict the ways in which art had been understood in Argentina until then. At the same time, the works studied were part of a debate on the avant-garde that was taking place at the same time as the national system of modern painting was being developed. Two works by Pío (Alberto) Collivadino, painted in 1924 and 1935 respectively, and another by Florencio Molina Campos painted in 1949, show that these artists set the picture plane with a view to creating a total work of art that overcomes the divisions that existed in the art at the time. In the case of Pío Collivadino, he relied on his relationship with the arts, namely painting and performing arts, and with crafts, whereas Florencio Molina Campos sought to combine painting, literature, cinema and audiovisual arts in his work. In this sense, it is argued that these works contribute to the constitution of the national avant-garde.https://www.iberpapers.org/jour/article/view/690pío collivadinoflorencio molina camposargentine avant-gardelandscapetotal work of artargentine art |
| spellingShingle | M. G. Fressoli G. M.M. Schuster The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos Ибероамериканские тетради pío collivadino florencio molina campos argentine avant-garde landscape total work of art argentine art |
| title | The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos |
| title_full | The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos |
| title_fullStr | The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos |
| title_full_unstemmed | The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos |
| title_short | The Argentine Avant-Garde: Experiments With Space in the Works of Pío Collivadino and Florencio Molina Campos |
| title_sort | argentine avant garde experiments with space in the works of pio collivadino and florencio molina campos |
| topic | pío collivadino florencio molina campos argentine avant-garde landscape total work of art argentine art |
| url | https://www.iberpapers.org/jour/article/view/690 |
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