Erased

Detalhes bibliográficos
Autor(a) principal: Simão, Paulo
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.34632/jsta.2022.11649
Resumo: In Erased (2021) Paulo Simão evokes Erased De Kooning Drawing by Robert Rauschenberg and, by manipulating a set of images from the US Library of Congress, reframes the archive and develops a series that invites us to a myriad of questions and reflections. With his intervention Paulo Simão creates a kind of anti-evocative monument and, by isolating the plinth, he opens a new perspective and approach to the artistic work, moreover, emphasizes the importance and role that the artist, the artistic work and, in this particular project, the evocative public art piece assumes by validating certain values, knowledge, historical events or collective memories.
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spelling ErasedIn Erased (2021) Paulo Simão evokes Erased De Kooning Drawing by Robert Rauschenberg and, by manipulating a set of images from the US Library of Congress, reframes the archive and develops a series that invites us to a myriad of questions and reflections. With his intervention Paulo Simão creates a kind of anti-evocative monument and, by isolating the plinth, he opens a new perspective and approach to the artistic work, moreover, emphasizes the importance and role that the artist, the artistic work and, in this particular project, the evocative public art piece assumes by validating certain values, knowledge, historical events or collective memories.Universidade Católica Portuguesa2022-07-28info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34632/jsta.2022.11649https://doi.org/10.34632/jsta.2022.11649Journal of Science and Technology of the Arts; Vol 14 No 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 10-28Journal of Science and Technology of the Arts; v. 14 n. 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 10-282183-00881646-979810.34632/jsta.2022.14.2reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/jsta/article/view/11649https://revistas.ucp.pt/index.php/jsta/article/view/11649/11245Copyright (c) 2022 Paulo Simãohttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessSimão, Paulo2023-02-17T07:15:16Zoai:ojs.revistas.ucp.pt:article/11649Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:13:22.249820Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Erased
title Erased
spellingShingle Erased
Simão, Paulo
title_short Erased
title_full Erased
title_fullStr Erased
title_full_unstemmed Erased
title_sort Erased
author Simão, Paulo
author_facet Simão, Paulo
author_role author
dc.contributor.author.fl_str_mv Simão, Paulo
description In Erased (2021) Paulo Simão evokes Erased De Kooning Drawing by Robert Rauschenberg and, by manipulating a set of images from the US Library of Congress, reframes the archive and develops a series that invites us to a myriad of questions and reflections. With his intervention Paulo Simão creates a kind of anti-evocative monument and, by isolating the plinth, he opens a new perspective and approach to the artistic work, moreover, emphasizes the importance and role that the artist, the artistic work and, in this particular project, the evocative public art piece assumes by validating certain values, knowledge, historical events or collective memories.
publishDate 2022
dc.date.none.fl_str_mv 2022-07-28
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://doi.org/10.34632/jsta.2022.11649
https://doi.org/10.34632/jsta.2022.11649
url https://doi.org/10.34632/jsta.2022.11649
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://revistas.ucp.pt/index.php/jsta/article/view/11649
https://revistas.ucp.pt/index.php/jsta/article/view/11649/11245
dc.rights.driver.fl_str_mv Copyright (c) 2022 Paulo Simão
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Paulo Simão
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Católica Portuguesa
publisher.none.fl_str_mv Universidade Católica Portuguesa
dc.source.none.fl_str_mv Journal of Science and Technology of the Arts; Vol 14 No 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 10-28
Journal of Science and Technology of the Arts; v. 14 n. 2 (2022): Post-Photographic Truths: Poetics Vs Politics; 10-28
2183-0088
1646-9798
10.34632/jsta.2022.14.2
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron_str RCAAP
institution RCAAP
reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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