CONICET | Buscador de Institutos y Recursos Humanos

Presentación del simposio organizado por la compiladora el 21 de abril de 2007 en la Universidad de Texas, Austin: ___April 27, 2007 will mark the 70th anniversary of the bombing of the city of Guernica by Nazi war planes, a ?macabre trial? of new war tactics being applied during the Second World War. There is widespread consensus regarding Picasso?s Guernica as the artwork that most concisely represents this event, and it has been raised up as a an anti-war banner and symbol of the horror of that violence. But to represent a theme in the form of an image does not necessarily imply silencing it on the canvas? surface. Far from remaining frozen in their own time, images are always open to new interpretations; they participate in the present and become activated in different circumstances. They remain at the disposal of any viewer capable of recognizing some anomaly in them, or an unexpected shift of meanings. In this sense, they bear danger. Within them lies a latent threat, an uncontrollable element whose consequences are unleashed upon the works themselves or upon the context that brings their content up to date?this is why they suffer censorship, destruction, or are raised aloft as examples to be heeded. Guernica is a paradigmatic work in every sense of the word. Since the moment of its creation it has been the subject of intense dispute, used for artistic and political ends. This work?s multiple journeys evidenced the power it possesses. From its initial itinerary including different European cities during the late ?30s to crossing the United States, when it reached the vibrant young São Paulo Biennial during the ?50s or visited European cities that were still traumatized by the war?s toll. Its route culminated in Spain, where the city in which it ought to be exhibited is still a topic of debate. What happened when it was in Milan, on the only occasion when it was shown along side the Massacre of Korea and the panels of the mural War and Peace? What did its return to Paris represent? What kind of an impact did its exhibition in São Paulo have? What polemics did it provoke in Spain? The work?s travels were not the only impulse that reactivated its power. An aesthetic paradigm came into being in relation to this work that became a norm, an unquestionable example, both for the ?free? world and for left-wing intelligentsia in the midst of post-war polemics. Sartre qualified the painting as a ?plastic [art] crime?: ?Unforgettable rebellion, commemoration of a massacre, and at the same time the painting seems to seek only Beauty?. What role did the painting play in the aesthetic debates on art and politics that emerged during the forties in Latin America? The purpose of this encounter is to revisit some of the complex episodes related to this work?s circulation and to Picasso during the Post War time. We will historically analyze the political ends to which the image was employed as well as the aesthetic paradigm that was established and that played a key part in many debates on the relationship between art and politics. Its impact from 1937 to date will be examined, in Europe as well as the Americas. El Guernica de Picasso. Arte, guerra, poder Andrea Giunta (Compilador) Agradecimientos (226*) Introducción. Guernica y el extraño poder de las imágenes, por Andrea Giunta (4361) Ensayos La faena de Picasso: alegría de vivir y horrores de la guerra, por Serge Guilbaut (5153) El poder de la interpretación (o cómo Alfred J. Barr explicó el Guernica al público del MoMA), por Andrea Giunta (7736) El Goya vengador en el Tercer Mundo: Picasso y el Guernica en Brasil, por Francisco Alambert (8636) Más allá de Guernica: Picasso y la política del realismo en el Milán de la posguerra, por Stephen Petersen (4517) Guernica: Intelectuales, disidentes y los Estados Unidos, por Francis Frascina. (9087) Explorando España, exportando ?España?. El Guernica como icono cultural y la formación de ?lo español?, por Estrella de Diego (5680 palabras) Guernica, Abu Ghraib y el espectáculo de la guerra, por Michael R. Orwicz y Robin Adèle Greeley. (9398) Comentarios finales. Las muchas caras (y funciones) de Guernica, por Jacqueline Barnitz (4120 palabras) CV de los autores *cantidad de palabras incluyendo las notas Total: 58914

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