{"title":"«Indias Huancas» de Julia Codesido = «Indias Huancas» by Julia Codesido","authors":"Giuliana Moyano-Chiang","doi":"10.5944/etfvii.8.2020.27408","DOIUrl":null,"url":null,"abstract":"La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la coleccion de arte moderno del Centro Pompidou de Paris y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no esta expuesta al publico. Este articulo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revision de la iconografia representada a partir de la significacion de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artistica del Peru, su adhesion a la estetica indigenista le permitio crear obras que alteraron los canones academicistas, explorando nuevas formas de expresion. Mediante estas nuevas maneras de representacion restituyo la presencia de las mujeres y su diversidad etnica y cultural en la historia del arte del Peru. Abstract The work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5944/etfvii.8.2020.27408","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
Abstract
La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la coleccion de arte moderno del Centro Pompidou de Paris y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no esta expuesta al publico. Este articulo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revision de la iconografia representada a partir de la significacion de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artistica del Peru, su adhesion a la estetica indigenista le permitio crear obras que alteraron los canones academicistas, explorando nuevas formas de expresion. Mediante estas nuevas maneras de representacion restituyo la presencia de las mujeres y su diversidad etnica y cultural en la historia del arte del Peru. Abstract The work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.