Retratos cultivados: Visiones (microorgánicas y simpoiéticas) del cuerpo en la obra de Luciana Paoletti

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Fecha
12/2020
Editorial
Pontificia Universidad Católica del Ecuador. Facultad de Arquitectura, Diseño y Artes. Carrera de Artes Visuales
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Índex
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2477-9199
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Resumen
El trabajo aborda la serie Retratos (2010-actualidad) que Luciana Paoletti realiza mediante el cultivo de los microorganismos capturados en los cuerpos de seres queridos, siguiendo el programa de "hacer visible lo invisible". Se analizan los desvíos que la artista realiza tanto de la disciplina científica como del concepto de bioarte. Se reflexiona, también, acerca de las tensiones que la serie entabla con la tradición moderna del retrato, a la que comenta. La pregunta central, es qué tipo de potencia referencial detentan estas imágenes respecto del "modelo vivo" representado. Mediante el concepto de simpoiesis aportado por Donna Haraway, se analiza la ruptura que esta artista realiza respecto la escala visual humana. Se concluye que, lejos de una relación de semejanza con el cuerpo al que refieren, entablan una relación metonímica, basada en el contacto y en el devenir-con. El cuerpo se muestra, así como territorio de una vida microbiológica a descubrir.
The work addresses the series Retratos (2010-present) which the artist and biotechnologist Luciana Paoletti makes by cultivating the microorganisms captured in the bodies of loved ones, following the program of "making visible the invisible". I analyze the deviations that the artist makes from both the scientific discipline and the concept of bioart. I also reflect on the tensions that the series establishes with the modern tradition of portraiture, to which it comments.The central question is what kind of referential power do these images hold with respect to the "living model" represented. Through the concept of sypoietics contributed by Donna Haraway, the rupture that this artist makes with respect to the human visual scale is analyzed. It is concluded that far from a relationship of similarity with the body to which they refer, they establish a metonymic relationship, based on contact. The body is, thus, shown as the territory of a microbiological life to discover.
The work addresses the series Retratos (2010-present) which the artist and biotechnologist Luciana Paoletti makes by cultivating the microorganisms captured in the bodies of loved ones, following the program of "making visible the invisible". I analyze the deviations that the artist makes from both the scientific discipline and the concept of bioart. I also reflect on the tensions that the series establishes with the modern tradition of portraiture, to which it comments.The central question is what kind of referential power do these images hold with respect to the "living model" represented. Through the concept of sypoietics contributed by Donna Haraway, the rupture that this artist makes with respect to the human visual scale is analyzed. It is concluded that far from a relationship of similarity with the body to which they refer, they establish a metonymic relationship, based on contact. The body is, thus, shown as the territory of a microbiological life to discover.
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