Mari Lending e-mail(Inicie sesión)

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Mari Lending e-mail(Inicie sesión)

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143

Existen pocos ámbitos donde la obstinada dicotomía entre copia y original se deconstruya con más vehemencia que en la trayectoria de la denominada escultura clásica. Se trata de un proceso intrínseco a los asumidos orígenes de lo clásico y a la idea del original antiguo, a pesar de la existencia de piezas célebres como la Venus de Milo, el Laocoonte o el Hércules Farnesio, veneradas por el público durante siglos en París, Roma y Nápoles, respectivamente. Pocas estatuas pueden ser consideradas una versión original y primigenia: la historia de la escultura clásica es tanto la historia del original seriado como la de las copias en serie, tal como evidenciaron en 2015 Salvatore Settis y su equipo en dos refinadas exposiciones simultáneas en las sedes de Venecia y Milán de la Fundación Prada: “Portable Classic” [Clásicos portátiles] y “Serial Classic” [Clásicos seriados]. Mientras que esta última reflexionaba acerca de la seriación, la materialidad y la superficie, la de Venecia mostraba repeticiones antiguas que jugaban con la escala, la miniaturización y la portabilidad. Las manidas preconcepciones sobre los orígenes y la originalidad se venían abajo ante una serie de Hércules Farnesios alineados en la Ca’ Corner della Regina junto al Gran Canal, y ante las numerosas variantes y reformulaciones de esculturas paradigmáticas como el Discóbolo y la Afrodita agachada en Milán. El acceso a estos espacios generaba una profunda experiencia corpórea de la repetitividad, versatilidad y adaptabilidad de la tradición clásica.

Palabras clave

Originales serializados, reproducciones e innovación, antigüedades como novedades, historia global emergente

Referencias

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