Lais Myrrha: the architecture of the world as a matter of art

Detalhes bibliográficos
Autor(a) principal: Albuquerque, Ana Paula Freitas de
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: por
Título da fonte: Palíndromo (Online)
Texto Completo: https://www.revistas.udesc.br/index.php/palindromo/article/view/20061
Resumo: This article proposes to analyze two works by the Brazilian artist Lais Myrrha, Borders Theory (2007) and Double Standard (2016), in order to unveil aspects of her poetic construction. The artifacts, which deal with the deconstruction of the real and symbolic boundaries that organize our existence, with the advance of modern technique and the threat of collapse that its instrumentalized use implies, give clues to your interest in, turning over the ruins that accumulate in the present, reflect, through the categories of time and space, how the things of the world are architected. By articulating the images from other narratives, by changing the references of what is seen and the meanings that are ordinarily attributed to her, the artist messes up the order of things, upsets the hierarchies and brings out the power of the destruction of everything that it seems necessary and inevitable.
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spelling Lais Myrrha: the architecture of the world as a matter of artLais Myrrha: la arquitectura del mundo como materia de arteLais Myrrha: a arquitetura do mundo como matéria da arteLais MyrrhaArte ContemporâneaRuínasDestruiçãoImpermanênciaArte contemporâneaMemóriaArte e políticaLais MyrrhaContemporary ArtRuinsDestructionImpermanenceLais MyrrhaArte ContemporaneoRestosRuinaImpermanenciaThis article proposes to analyze two works by the Brazilian artist Lais Myrrha, Borders Theory (2007) and Double Standard (2016), in order to unveil aspects of her poetic construction. The artifacts, which deal with the deconstruction of the real and symbolic boundaries that organize our existence, with the advance of modern technique and the threat of collapse that its instrumentalized use implies, give clues to your interest in, turning over the ruins that accumulate in the present, reflect, through the categories of time and space, how the things of the world are architected. By articulating the images from other narratives, by changing the references of what is seen and the meanings that are ordinarily attributed to her, the artist messes up the order of things, upsets the hierarchies and brings out the power of the destruction of everything that it seems necessary and inevitable.Este artículo tiene como objetivo analizar dos obras de la artista brasileña Lais Myrrha, Teoría de los Bordes (2007) y Dois pesos, dos medidas (2016), con el fin de desvelar aspectos de su construcción poética. Los artefactos, que tratan de la deconstrucción de los límites reales y simbólicos que organizan nuestra existencia, con el avance de la técnica moderna y la amenaza de colapso que implica su uso instrumentalizado, dan pistas sobre su interés, entregando las ruinas que se acumulan en el nuestro presente, reflejan, a través de las categorías de tiempo y espacio, cómo se construyen las cosas del mundo. Al articular las imágenes de otras narrativas, al cambiar las referencias de lo que se ve y los significados que habitualmente se le atribuyen, la artista altera el orden de las cosas, trastorna las jerarquías y saca a relucir el poder de destrucción de todo lo que parece necesario e inevitable.O presente artigo propõe-se a analisar duas obras da artista brasileira Lais Myrrha, Teoria das Bordas (2007) e Dois pesos, duas medidas (2016), a fim de desvendar aspectos da sua construção poética. Os artefatos, que lidam com a desconstrução das fronteiras reais e simbólicas que organizam a nossa existência, com o avanço da técnica moderna e a ameaça de colapso que seu uso instrumentalizado implica, dão pistas do seu interesse em, revirando as ruínas que se acumulam no nosso presente, refletir, por meio das categorias de tempo e espaço, como são arquitetadas as coisas do mundo. Ao articular as imagens a partir de outras narrativas, ao mudar os referenciais do que é visto e dos sentidos que ordinariamente lhe são atribuídos, a artista bagunça a ordem das coisas, desordena as hierarquias e traz à tona a potência da destruição de tudo aquilo que parece necessário e inevitável.Universidade do Estado de Santa Catarina2022-05-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/2006110.5965/2175234614332022296Palíndromo; Vol. 14 No. 33 (2022): A questão do detalhe na história da arte; 296 - 319Palíndromo; v. 14 n. 33 (2022): A questão do detalhe na história da arte; 296 - 3192175-23461984-9532reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/20061/14333Copyright (c) 2022 Ana Paula Freitas de Albuquerquehttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccess Albuquerque, Ana Paula Freitas de2022-05-01T19:38:04Zoai:ojs.revistas.udesc.br:article/20061Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2022-05-01T19:38:04Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false
dc.title.none.fl_str_mv Lais Myrrha: the architecture of the world as a matter of art
Lais Myrrha: la arquitectura del mundo como materia de arte
Lais Myrrha: a arquitetura do mundo como matéria da arte
title Lais Myrrha: the architecture of the world as a matter of art
spellingShingle Lais Myrrha: the architecture of the world as a matter of art
Albuquerque, Ana Paula Freitas de
Lais Myrrha
Arte Contemporânea
Ruínas
Destruição
Impermanência
Arte contemporânea
Memória
Arte e política
Lais Myrrha
Contemporary Art
Ruins
Destruction
Impermanence
Lais Myrrha
Arte Contemporaneo
Restos
Ruina
Impermanencia
title_short Lais Myrrha: the architecture of the world as a matter of art
title_full Lais Myrrha: the architecture of the world as a matter of art
title_fullStr Lais Myrrha: the architecture of the world as a matter of art
title_full_unstemmed Lais Myrrha: the architecture of the world as a matter of art
title_sort Lais Myrrha: the architecture of the world as a matter of art
author Albuquerque, Ana Paula Freitas de
author_facet Albuquerque, Ana Paula Freitas de
author_role author
dc.contributor.author.fl_str_mv Albuquerque, Ana Paula Freitas de
dc.subject.por.fl_str_mv Lais Myrrha
Arte Contemporânea
Ruínas
Destruição
Impermanência
Arte contemporânea
Memória
Arte e política
Lais Myrrha
Contemporary Art
Ruins
Destruction
Impermanence
Lais Myrrha
Arte Contemporaneo
Restos
Ruina
Impermanencia
topic Lais Myrrha
Arte Contemporânea
Ruínas
Destruição
Impermanência
Arte contemporânea
Memória
Arte e política
Lais Myrrha
Contemporary Art
Ruins
Destruction
Impermanence
Lais Myrrha
Arte Contemporaneo
Restos
Ruina
Impermanencia
description This article proposes to analyze two works by the Brazilian artist Lais Myrrha, Borders Theory (2007) and Double Standard (2016), in order to unveil aspects of her poetic construction. The artifacts, which deal with the deconstruction of the real and symbolic boundaries that organize our existence, with the advance of modern technique and the threat of collapse that its instrumentalized use implies, give clues to your interest in, turning over the ruins that accumulate in the present, reflect, through the categories of time and space, how the things of the world are architected. By articulating the images from other narratives, by changing the references of what is seen and the meanings that are ordinarily attributed to her, the artist messes up the order of things, upsets the hierarchies and brings out the power of the destruction of everything that it seems necessary and inevitable.
publishDate 2022
dc.date.none.fl_str_mv 2022-05-01
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/20061
10.5965/2175234614332022296
url https://www.revistas.udesc.br/index.php/palindromo/article/view/20061
identifier_str_mv 10.5965/2175234614332022296
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/20061/14333
dc.rights.driver.fl_str_mv Copyright (c) 2022 Ana Paula Freitas de Albuquerque
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Ana Paula Freitas de Albuquerque
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 do Estado de Santa Catarina
publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
dc.source.none.fl_str_mv Palíndromo; Vol. 14 No. 33 (2022): A questão do detalhe na história da arte; 296 - 319
Palíndromo; v. 14 n. 33 (2022): A questão do detalhe na história da arte; 296 - 319
2175-2346
1984-9532
reponame:Palíndromo (Online)
instname:Universidade do Estado de Santa Catarina (UDESC)
instacron:UDESC
instname_str Universidade do Estado de Santa Catarina (UDESC)
instacron_str UDESC
institution UDESC
reponame_str Palíndromo (Online)
collection Palíndromo (Online)
repository.name.fl_str_mv Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)
repository.mail.fl_str_mv palindromorevista@gmail.com || revistapalindromo@udesc.br
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