Thispaperfocusesona“constellation”ofargentinianscholarscharacterizedbyaninevitable and common eurocentric horizon that, through their own contribution in Sur (1931-1992) with severalartcriticessays,trytointerpretatethetoughlocalartisticmoment.Startingfromasequence ofevents,areflectiononcinemaandarchitectureasa‘pedagogicalspace’,isproposed.Throughthe analysis and interpretation of Victoria Ocampo’s cultural role and her tool-magazine named Sur, a seriesofeventsandstrategiesconnectedbyafilrougeorientedtocreateanArgentianculturalunity arepresented:fromthepersonalandprivatesupportprovidedtoLeCorbusierduringhisjourneyto Argentina and the documentary project that starts in the framework of the Soviet cinema of Sergej Ėjzenštejn,totheItalianneorealismofVittorioDeSicaandCesareZavattini.

La critica de arte y la construcción del patrimonio cultural. Buenos Aires 1931

Streppone, Victoria
2020

Abstract

Thispaperfocusesona“constellation”ofargentinianscholarscharacterizedbyaninevitable and common eurocentric horizon that, through their own contribution in Sur (1931-1992) with severalartcriticessays,trytointerpretatethetoughlocalartisticmoment.Startingfromasequence ofevents,areflectiononcinemaandarchitectureasa‘pedagogicalspace’,isproposed.Throughthe analysis and interpretation of Victoria Ocampo’s cultural role and her tool-magazine named Sur, a seriesofeventsandstrategiesconnectedbyafilrougeorientedtocreateanArgentianculturalunity arepresented:fromthepersonalandprivatesupportprovidedtoLeCorbusierduringhisjourneyto Argentina and the documentary project that starts in the framework of the Soviet cinema of Sergej Ėjzenštejn,totheItalianneorealismofVittorioDeSicaandCesareZavattini.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3728275
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