Artistic intention, conservation and mutation in the current artwork: an hermeneutical approach
Keywords:
conservation, contemporary art, artistic intention, interpretation, ruin, documentation
Abstract
The discipline of conservation and restoration of contemporary art usually uses the concept of artistic intention. The study of this intention is the first step in any conservation intervention in a work of contemporary art. However, the significance of this concept may vary from one discipline to another. This article presents a study of the importance of the role of the artist in the hermeneutical process of interpretation of the work, emphasizing the moderate intentionalism as a theory that can help conservators in the decision making process. At the same time, reflect on the needs of the documentation of contemporary art work, approaching the different ontological categories generated by passage of time on the work, and this, from the acceptance of ruin and death of the work as part of their existence.
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WOLLHEIM R.: “Criticism as Retrieval” en A. Neill y A. Ridley (eds.), Philosophy of Art: Readings Ancient and Modern, Boston, McGraw-Hill, pp. 404-414
BENJAMIN W. 82003): La obra de arte en la época de su reproductibilidad técnica, México D.F., Itaca.
CASTRO SIXTO J. (2008): “El papel de la intención en la interpretación artística”, Revista de Filosofía, Vol. 33 Núm. 1: 139-159.
DAVIS, L. y HEUMAN, J. (2004): “Meaning matters: Collaborating with contemporary artist”, en Studies in Conservation, 49: sup2, 30-33.
DYKSTRA, STEVEN W. (1996): “The artist´s intention and the intentional fallacy in fine arts conservation”, en JAIC 35:197-218.
HIRSCH, E.D. (1976): The Aims of Interpretation, Chicago, University of Chicago Press.
HUMMELEN I. y SCHOLTE T. (2004): “Sharing Knowledge for the conservation of contemporary art: changing roles in a museum without walls” en Studies in Conservation, 49 sup2: 208-212.
HUYSSEN A. (2002): Presentes: los medios de comunicación, la política, la amnesia, en Global-local: democracia, memoria, identidades, Montevideo: Trilce, 217-237.
JERROLD, L. (1996): “Intention and interpretation in Literature”, en J. Levinson, The Pleasures of Aesthetics, Ithaca, N.Y. Cornell University Press.
LLAMAS-PACHECO, R (2015): “El artista contemporáneo ante la transformación de su obra. El paso del tiempo y su efecto sobre la significación de la materia” en Arte, Individuo y Sociedad 27 (2), 211-228.
MARTORE, P. (2014): “Parasites of the Glory” en CeROArt [en línea], 9/2014, puesto en línea el 22 de enero de 2014, consultado el 2 de febrero de 2016. URL: http://ceroart.revues.org/3768.
NORA P. (dir.), (1984-1992): Les lieux de mémoire. Paris: Gallimard.
PÉREZ CARREÑO, F. (2001): “Institución-arte e intencionalidad artísitca” en Enrahonar 32/33, pp. 151-167
WIMSATT, W.K. y M. BEARDSLEY (1954): “The Intentional Fallacy”, recogido en The Verbal Icon: Studies in the Meaning of Poetry, Lexington: U. of Kentucky Press.
RODRÍGUEZ GARCÍA, M. (2012): “Conservación y metafísica realizada”, en Actas de las 13 Jornadas de Conservación de Arte Contemporáneo, Madrid: Museo Nacional Centro de Arte Reina Sofía, 259-266.
VECCO M. (2010): “A definition of cultural heritage” en Journal of cultural heritage, 11: 321-324.
WOLLHEIM R.: “Criticism as Retrieval” en A. Neill y A. Ridley (eds.), Philosophy of Art: Readings Ancient and Modern, Boston, McGraw-Hill, pp. 404-414
Published
2017-12-16
How to Cite
Llamas-Pacheco, R. (2017). Artistic intention, conservation and mutation in the current artwork: an hermeneutical approach. Ge-Conservacion, 12, 45-54. https://doi.org/10.37558/gec.v12i0.348
Section
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