| On
the Threshold of Image
In
the context of Argentina’s artistic field, Adolfo Nigro’s plastic production
emerges with a singular language.
Faced
with multiple modalities of artistic expression that nowadays give place to
diverse and simultaneous manifestations, the artist develops a language with
his own codes, distancing himself from the dominant trends.
Based
on the works that have emphasized the main features of his production, we will
first focus on the development of his processes of selection and appropriation,
conceiving them as intrinsic mechanisms of his own productive reality. These
mechanisms have been indispensable for the consolidation of his discourse, and
in this case they allow us to approach one of the ways these processes of
symbolic production are articulated in the periods that follow avant-garde
conjunctures.
Based on the selection of the artist’s collages and
objects, the following essay, which extends the main premises to a later work,
is structured on the possibility of visualizing the itinerary of these sources
of his production and exploring the warp and woof of intertextual relations
woven by his language. After trying to indicate the degree of importance and
significance of the referents recovered by his gaze, we will place the main
stress on those cultural exponents that constitute the Latin American scope of
his perception. We consider that in this manner, it is possible to shift our
attention toward a point of view presided by the intention to reserve a space
for the analysis of seldom recognized influences on the artists of our context.
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| On
the Threshold of Image, |
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