{"id":12549,"date":"2011-04-08T05:55:15","date_gmt":"2011-04-08T05:55:15","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=12549"},"modified":"2020-11-25T10:11:46","modified_gmt":"2020-11-25T09:11:46","slug":"entrar-en-la-obra-wilfredo-prieto","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/entrar-en-la-obra-wilfredo-prieto\/","title":{"rendered":"[:es]Entrar en la Obra. Wilfredo Prieto [:gl]Entrar na Obra [Wilfredo Prieto][:en]Entering in the Work [Wilfredo Prieto][:]"},"content":{"rendered":"

[:es]<\/p>\n

La exposici\u00f3n de Wilfredo Prieto es la segunda del ciclo \u2018ENTRAR EN LA OBRA\u2019, que se desarrollar\u00e1 a lo largo de varios meses en las salas de la primera planta, y cuyo t\u00edtulo est\u00e1 tomado de la c\u00e9lebre pieza de Giovanni Anselmo Entrare nell\u2019opera<\/em> (1971). La paradoja que rodea el concepto de espectador y que lo sit\u00faa entre la pasividad y la acci\u00f3n es el punto de partida de esta serie de proyectos, que analizan al p\u00fablico, al visitante, al espectador, a la audiencia, como un elemento inherente a la obra.<\/p>\n

WILFREDO PRIETO (Sancti-Spiritus, Cuba, 1978) construye su obra a partir de materiales y objetos cotidianos de los que se apropia, sin apenas manipularlos, para alterar su naturaleza dot\u00e1ndolos de nuevos significados. El absurdo y el humor se unen a la descontextualizaci\u00f3n duchampiana como estrategias que le permiten construir un discurso ambiguo \u2014por la sencillez de la forma y la complejidad de significado\u2014 cuyo punto de partida es el espectador. Su comportamiento a\u00f1ade nuevas lecturas a las piezas, superando la autorreferencialidad minimalista y abri\u00e9ndolas a m\u00faltiples interpretaciones.<\/p>\n

De car\u00e1cter conceptual y formalmente m\u00ednimas, aunque narrativas, las \u2018intervenciones\u2019 de Wilfredo Prieto se comportan como poemas visuales, fruto de la reducci\u00f3n m\u00e1xima de la idea primera y de la aplicaci\u00f3n de juegos de escala o conceptos b\u00e1sicos del minimalismo como \u2018lugar\u2019 y \u2018presencia\u2019. El cr\u00edtico Gerardo Mosquera resume su proceso de trabajo con la siguiente f\u00f3rmula: idea neta (+) obra sencilla (=) significado m\u00e1ximo.<\/p>\n

\"\"<\/a><\/p>\n

8 abril \u2013 5 junio 2011
\nComisarios: Agar Ledo Arias e I\u00f1aki Mart\u00ednez Antelo
\nProduci\u00f3n: MARCO, Museo de Arte Contempor\u00e1nea de Vigo<\/p>\n

[:gl]<\/p>\n

A exposici\u00f3n de Wilfredo Prieto \u00e9 a segunda do ciclo \u2018ENTRAR NA OBRA\u2019, que se desenvolver\u00e1 ao longo de varios meses nas salas do primeiro andar, e cuxo t\u00edtulo est\u00e1 tomado da c\u00e9lebre peza de Giovanni Anselmo Entrare nell\u2019opera<\/em> (1971). O paradoxo que rodea o concepto de espectador e que o sit\u00faa entre a pasividade e a acci\u00f3n \u00e9 o punto de partida desta serie de proxectos, que analizan ao p\u00fablico, ao visitante, ao espectador, \u00e1 audiencia, como un elemento inherente \u00e1 obra.<\/p>\n

WILFREDO PRIETO (Sancti-Spiritus, Cuba, 1978) constr\u00fae a s\u00faa obra a partir de materiais e obxectos coti\u00e1ns dos que se apropia, sen apenas manipulalos, para alterar a s\u00faa natureza dot\u00e1ndoos de novos significados. O absurdo e o humor \u00fanense \u00e1 descontextualizaci\u00f3n duchampiana como estratexias que lle permiten constru\u00edr un discurso ambiguo \u2014pola sinxeleza da forma e a complexidade de significado\u2014 que ten como punto de partida o espectador. O seu comportamento engade novas lecturas \u00e1s pezas, superando a autorreferencialidade minimalista e abr\u00edndoas a m\u00faltiples interpretaci\u00f3ns.<\/p>\n

<\/strong><\/p>\n

De car\u00e1cter conceptual e formalmente m\u00ednimas, a\u00ednda que narrativas, as \u2018intervenci\u00f3ns\u2019 de Wilfredo Prieto comp\u00f3rtanse como poemas visuais, froito da reduci\u00f3n m\u00e1xima da idea primeira e da aplicaci\u00f3n de xogos de escala ou conceptos b\u00e1sicos do minimalismo como \u2018lugar\u2019 e \u2018presencia\u2019. O cr\u00edtico Gerardo Mosquera resume o seu proceso de traballo coa seguinte f\u00f3rmula: idea neta (+) obra sinxela (=) significado m\u00e1ximo.<\/p>\n

\"\"<\/a><\/p>\n

8 abril \u2013 5 xu\u00f1o 2011
\nComisarios: Agar Ledo Arias e I\u00f1aki Mart\u00ednez Antelo
\nProduci\u00f3n: MARCO, Museo de Arte Contempor\u00e1nea de Vigo<\/p>\n<\/p>\n

[:en]<\/p>\n

Wilfredo Prieto\u2019s is the second project of a cycle of exhibitions, titled \u2018ENTERING THE WORK\u2019, which will run for several months in the galleries of the first floor and whose title is borrowed from the celebrated piece by Giovanni Anselmo, Entrare nell\u2019opera<\/em> (1971). The paradox that surrounds the concept of spectator and which situates the latter somewhere between passivity and action is the departure point of this series of projects, which analyses the public, the visitor, the viewer, and the audience as an integral part of the work.<\/p>\n

WILFREDO PRIETO (Sancti-Spiritus, Cuba, 1978) creates his works from everyday materials and objects, which he alters only minimally while nonetheless investing them with new meanings. Humour and the absurd merge with Duchampian decontextualisation as strategies that allow him to build an ambiguous discourse \u2013 thanks to simplicity of form and complexity of meaning \u2013 the starting point of which is the spectator. This endows the pieces with new readings while overcoming minimalist self-referentialism and opening them up to multiple interpretations.<\/p>\n

<\/strong><\/strong><\/p>\n

Conceptual in character and minimal, though narrative, in form, Wilfredo Prieto\u2019s \u2018interventions\u2019 come across as visual poems, the fruit of the maximum reduction of the primary idea and of an interplay of scales (juegos de escala) and basic minimalist concepts such as \u2018place\u2019 and \u2018presence\u2019. The art critic Gerardo Mosquera sums up his work process with the following formula: a net idea (+) a simple work (=) maximum meaning.<\/p>\n

\"\"<\/a><\/p>\n

8 abril \u2013 5 xu\u00f1o 2011
\nComisarios: Agar Ledo Arias e I\u00f1aki Mart\u00ednez Antelo
\nProduci\u00f3n: MARCO, Museo de Arte Contempor\u00e1nea de Vigo<\/p>\n<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La exposici\u00f3n de Wilfredo Prieto es la segunda del ciclo \u2018ENTRAR EN LA OBRA\u2019, que se desarrollar\u00e1 a lo largo de varios meses en las salas de la primera planta, y cuyo t\u00edtulo est\u00e1 tomado de la c\u00e9lebre pieza de Giovanni Anselmo Entrare nell\u2019opera (1971). La paradoja que rodea el concepto de espectador y […]<\/p>\n","protected":false},"author":2,"featured_media":12550,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[521,556,619,1564,5235,15112],"class_list":["post-12549","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","tag-espana","tag-exposicion","tag-galicia","tag-objeto","tag-significado","tag-wilfredo-prieto"],"yoast_head":"\n[:es]Entrar en la Obra. 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