<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2301-1513</journal-id>
<journal-title><![CDATA[Anales de Investigación en Arquitectura]]></journal-title>
<abbrev-journal-title><![CDATA[An. Investig. Arquit.]]></abbrev-journal-title>
<issn>2301-1513</issn>
<publisher>
<publisher-name><![CDATA[Universidad ORT Uruguay]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2301-15132025000101207</article-id>
<article-id pub-id-type="doi">10.18861/ania.2025.15.1.4045</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Del ser estético del arte moderno en Oteiza, a la disolucion post-moderna: Re-visiones en torno a una entrevista documental al artista catalán]]></article-title>
<article-title xml:lang="en"><![CDATA[From the Aesthetic Ontology of Modern Art in Oteiza to Postmodern Dissolution: Re-visions Based on a Documentary Interview with the Catalan Artist]]></article-title>
<article-title xml:lang="pt"><![CDATA[Da Ontologia Estética da Arte Moderna em Oteiza à Dissolução Pós-Moderna: Re-visões a Partir de uma Entrevista Documental com o Artista Catalão]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Moraga Lacoste]]></surname>
<given-names><![CDATA[Juan Luis]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cañete Islas]]></surname>
<given-names><![CDATA[Omar]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Valparaíso  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Chile</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2025</year>
</pub-date>
<volume>15</volume>
<numero>1</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_arttext&amp;pid=S2301-15132025000101207&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_abstract&amp;pid=S2301-15132025000101207&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_pdf&amp;pid=S2301-15132025000101207&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El artículo tiene como objetivo, analizar la reflexión del destacado escultor español, del siglo XX, Jorge Oteiza en el ámbito de la Bienal de Venecia el año 1988. Se afirmará que sintetizadas que en sus observaciones se encuentran los criterios sobre, Modernidad y Posmodernidad. En dicha entrevista, Oteiza se mostrará la disconforme con el llamado arte post-moderno, expuesto en la misma bienal, tales como el &#8220;Arte Povera&#8221; y la obra de Mario Mertz. Pero ¿cuáles son las características básicas de las obras contrapuestas que hacen pensar en esas épocas? ¿La exasperación de Oteiza es la expresión de lo inevitable? Y, ¿qué es lo que hace inevitable dicho cambio? En el ethos de cada período histórico el arte refleja también la inmanencia del proyecto de ciudad. Una ciudad moderna se lee como una obra de Oteiza. Las grandes y extendidas ciudades contemporáneas se leen como obras del &#8220;Arte Pobre&#8221;, especialmente en algunas obras de Mario Mertz, que el propio Oteiza, se encarga de zaherir, acusándolo de querer adormecer al hombre, en vez de construirlo o despertarlo, como buscaban las vanguardias formalistas-constructivistas del arte moderno, o, explorando en sus contenidos inconscientes, buscando nuevo horizonte desde donde despertarlo de su estado de latencia.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The manuscript aims to analyze, based on the reflection of an interview given by the prominent Spanish sculptor of the 20th century, Jorge Oteiza in the context of the Venice Biennale in 1988. It will be stated that synthesized in these works of art They are: Modernity and Postmodernity. In this interview, the disagreement that Oteiza experiences around the so-called post-modern art will be shown, reflected in exhibitors at the same biennial, such as arte povera or the work of Mario Mertz. But what are the basic characteristics of the contrasting works that make us think of those times? Is Oteiza's exasperation the expression of the inevitable? And what makes such change inevitable? In the ethos of each historical period, art also reflects the immanence of the city project. A modern city reads like a work by Oteiza. The large and widespread contemporary cities are read as works of &#8220;Poor Art&#8221;, especially in some works by Mario Mertz, which Oteiza himself is in charge of criticizing, accusing him of wanting to lull man to sleep, instead of building him or awakening him, as they sought. the formalist-constructivist avant-garde of modern art, or, exploring its unconscious contents, seeking a new horizon from which to awaken it from its state of latency. In our extended urbanized reality of the central zone of Chile, the modern city has been blurred and appears, just as in &#8220;Poor Art&#8221;, fragmented groupings of waste among which man himself is one of them.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O manuscrito tem como objetivo analisar, a partir da reflexão de uma entrevista concedida pelo destacado escultor espanhol do século XX, Jorge Oteiza, no contexto da Bienal de Veneza de 1988. Sustenta-se que, sintetizadas nessas obras de arte, estão: a Modernidade e a Pós-modernidade. Nessa entrevista, será evidenciado o desacordo que Oteiza manifesta em relação à chamada arte pós-moderna, refletido em expositores da mesma bienal, como a arte povera ou a obra de Mario Merz.Mas quais são as características básicas das obras contrastantes que nos fazem pensar nessas épocas? A exasperação de Oteiza é a expressão do inevitável? E o que torna tal mudança inevitável? No ethos de cada período histórico, a arte também reflete a imanência do projeto de cidade. Uma cidade moderna se lê como uma obra de Oteiza. As grandes e extensas cidades contemporâneas se leem como obras de &#8220;Arte Povera&#8221;, especialmente em algumas obras de Mario Merz, que o próprio Oteiza se encarrega de criticar, acusando-o de querer adormecer o homem, em vez de construí-lo ou despertá-lo, como buscavam as vanguardas formalistas-construtivistas da arte moderna ou, explorando seus conteúdos inconscientes, procurar um novo horizonte a partir do qual despertá-lo de seu estado de latência. Na nossa realidade urbanizada e expandida da zona central do Chile, a cidade moderna se diluiu e aparecem, assim como na &#8220;Arte Povera&#8221;, agrupamentos fragmentados de resíduos, entre os quais o próprio homem é um deles]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Modernidad]]></kwd>
<kwd lng="es"><![CDATA[pot-modernidad]]></kwd>
<kwd lng="es"><![CDATA[arte moderno]]></kwd>
<kwd lng="es"><![CDATA[Ser estético]]></kwd>
<kwd lng="es"><![CDATA[construcción del vacío]]></kwd>
<kwd lng="es"><![CDATA[gestualidad formal]]></kwd>
<kwd lng="en"><![CDATA[Modernity]]></kwd>
<kwd lng="en"><![CDATA[pot-modernity]]></kwd>
<kwd lng="en"><![CDATA[modern art]]></kwd>
<kwd lng="en"><![CDATA[Aesthetic being]]></kwd>
<kwd lng="en"><![CDATA[construction of the void]]></kwd>
<kwd lng="en"><![CDATA[formal gestures]]></kwd>
<kwd lng="en"><![CDATA[dissolution]]></kwd>
<kwd lng="pt"><![CDATA[Modernismo]]></kwd>
<kwd lng="pt"><![CDATA[pós-modernismo]]></kwd>
<kwd lng="pt"><![CDATA[arte moderna]]></kwd>
<kwd lng="pt"><![CDATA[ser estético]]></kwd>
<kwd lng="pt"><![CDATA[construção do vazio]]></kwd>
<kwd lng="pt"><![CDATA[gestos formais]]></kwd>
<kwd lng="pt"><![CDATA[dissolução]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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