Análisis de la serie El cepo colombiano del artista plástico Pedro Molina desde una perspectiva histórico-crític

Abstract

In this article we identify the critical stance of the artist Pedro Molina through the construction of thecompositions that he has been adopting with sustainable and sensitive ideas of visual development, we find aseries of political works titled El Cepo Colombiano where he denounces the violence and torture committed bythose who hold military power. Art and research have fostered knowledge to establish dialogue between theirpractices that were highly related to a historical-critical perspective, in favor of human rights. This text exposesthe similarities and adverse conditions experienced in different periods of dictatorship by Pedro Molina inArgentina, in analogy with Francisco de Goya of Spain due to the war. Added to these readings, which expandthe interpretative margins, they give rise to reflections by thinkers such as Friedrich Nietzsche, WalterBenjamín who were pierced by different events and facts that occurred throughout history. As a direct anddirected consequence, emphasis is placed on the analysis of the political series as a clear example that makesvisible those decades until the arrival of democracy in 1983. In general terms, the ideas and conceptualizationthat make art and its relationship with history and politics. At the same time, an interpretation of artisticproductions is developed from a perspective focused on their various connections, beyond their thematiccontent. The documentary, qualitative, transdisciplinary methodological perspective is used, which articulatesdifferent areas of knowledge (politics, history and art).