Un nuevo modelo de mujer reflejado en la moda rosarina de los años ‘60
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Date
2010
Authors
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Publisher
La Trama de la Comunicación. Facultad de Ciencia Política y Relaciones Internacionales. Universidad Nacional de Rosario
Abstract
Ana María Giménez fue miembro fundador del grupo de vanguardia de Rosario y, un año antes de la emblemática obra Tucumán Arde (1968), abandonó el campo de la plástica autónoma para dedicarse a otro proyecto ligado de forma indirecta al quehacer artístico. Con una socia fundó “CyN”, una marca de ropa desde la que promovieron un estilo ligado al papel activo de la mujer y al protagonismo de la juventud en esos años. En el contexto de la época, ese desplazamiento generó apreciaciones negativas ya que en ese tipo de manifestaciones artísticas, la politicidad pasó a menudo inadvertida frente a obras y artistas que mostraban de manera explícita un vínculo directo con el campo de la política. Este fenómeno produjo una apreciación extendida en el tiempo que devino en un posicionamiento jerárquico de algunos artistas sobre otros.
Ana María Giménez was a founder member of the vanguard group in Rosario. But one year before of the emblematic work Tucumán Arde (1968), she left the field of autonomic plastic arts to dedicate herself to another proyect connected indirectly to the artistic work. She founded with a partner “CyN”, a clothes brand that promoted a style linked to the active role of woman and the protagonism of young people during those years. In the context of this period this displacement generated negative appreciations, since that in this kind of artistic expressions, the political quality was often not perceived confronted to works and artists which show clearly a direct link with the field of politics. This fact generated an appreciation extended in time which became a hierarchical positioning of some artist above others.
Ana María Giménez was a founder member of the vanguard group in Rosario. But one year before of the emblematic work Tucumán Arde (1968), she left the field of autonomic plastic arts to dedicate herself to another proyect connected indirectly to the artistic work. She founded with a partner “CyN”, a clothes brand that promoted a style linked to the active role of woman and the protagonism of young people during those years. In the context of this period this displacement generated negative appreciations, since that in this kind of artistic expressions, the political quality was often not perceived confronted to works and artists which show clearly a direct link with the field of politics. This fact generated an appreciation extended in time which became a hierarchical positioning of some artist above others.
Description
Keywords
Arte Argentino, Vanguardia, Política, Moda, Género, Argentine art, Vanguard, Politics, Fashion, Gender
Citation
CARRASCAL, María Laura, “Un nuevo modelo de mujer reflejado
en la moda rosarina de los años ‘60” en La Trama de la
Comunicación, Volumen 14. UNR Editora, 2010