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首页> 外文期刊>Revista colombiana de sociología >Un arte al servicio del pueblo: la obra de Clemencia Lucena desde la sociología de Pierre Bourdieu LA OBRA DE CLEMENCIA LUCENA DESDE LA SOCIOLOGIA DE PIERRE BOURDIEU
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Un arte al servicio del pueblo: la obra de Clemencia Lucena desde la sociología de Pierre Bourdieu LA OBRA DE CLEMENCIA LUCENA DESDE LA SOCIOLOGIA DE PIERRE BOURDIEU

机译：为人民服务的艺术：来自皮埃尔·布迪厄（Pierre Bourdieu）社会学的克莱曼西亚·卢塞纳（Clemencia Lucena）的作品来自皮埃尔·布尔迪厄（PIERRE BOURDIEU）社会学的克莱门西亚·卢塞纳（Clemencia Lucena）的作品

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The article analyzes the work of painter Clemencia Lucena on the basis of Pierre Bourdieu's theory of social fields. Its working hypothesis is that the artist from Manizales sought to subvert the dynamics that legitimized the field of art in Colombia during the 1960s and 1970s through her creative production and critical practice. It argues that in order to achieve that objective, Clemencia Lucena resorted to diverse strategies in order to question the definition of art thought to be legitimate in the artistic field and to debate the contents of works, as well as their production processes and their commercial projection. Taking into account the country's political and cultural turmoil during that period, the article highlights that Clemencia Lucena's defense of the political function of art in society was connected with her militancy in the leftist party, Movimiento Obrero Independiente y Revolucionario (moir), which advocated socialist realism with respect to art and the role of artists. Additionally, it suggests that Lucena's artistic proposal could be described as a sort of heretical critique within the field of painting in the 60s and 70s, which places her work in what Pierre Bourdieu emerging avant-garde. Nevertheless, the article affirms that both Lucena's criticism and her own artistic proposal run counter to the process of autonomy that Bourdieu saw as an essential requirement to guarantee the independence of the artistic field, since they deny the laws and the logic that should govern the field by trying to subordinate those dynamics to the disputes of the political field.
机译：本文在皮埃尔·布迪厄（Pierre Bourdieu）的社会领域理论的基础上分析了画家克莱门西亚·卢塞纳（Clemencia Lucena）的作品。它的工作假设是，来自马尼萨莱斯的艺术家试图通过其创造性的创作和批判性实践来颠覆1960年代和1970年代哥伦比亚合法的艺术动态。它辩称，为了实现这一目标，克莱门西亚·卢塞纳（Clemencia Lucena）采取了多种策略，以质疑被认为在艺术领域合法的艺术定义，并对作品的内容，生产过程和商业投影进行辩论。 。考虑到该时期的政治和文化动荡，本文着重指出，克莱门西亚·卢塞纳（Clemencia Lucena）对艺术在社会中的政治功能的捍卫与她倡导社会主义的左翼政党Movimiento Obrero Independiente y Revolucionario（moir）有关关于艺术和艺术家角色的现实主义。此外，它暗示了卢塞纳的艺术提议可以被描述为60年代和70年代绘画领域中的一种异端批评，这使她的作品成为了皮埃尔·布迪厄（Pierre Bourdieu）新兴的先锋派。尽管如此，文章还是肯定了卢塞纳的批评和她自己的艺术主张都与布迪厄认为自治是保证艺术领域独立性的基本要求背道而驰，因为他们否认了应该控制该领域的法律和逻辑。通过设法使这些动力服从政治领域的争端。

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