Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas
From a thematic approach to literature and the arts, the article aims at exploring and comparing how the Postapocalypse is constructed in the trilogy MaddAddam by Canadian writer Margaret Atwood (n. 1939) and the recent works of the young Argentinean sculptor Adrián Villar Rojas (n. 1980). The produ...
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| Format: | Article |
| Language: | English |
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Universidad Nacional de Córdoba
2020-12-01
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| Series: | Revista de Culturas y Literaturas Comparadas |
| Subjects: | |
| Online Access: | https://revistas.unc.edu.ar/index.php/CultyLit/article/view/31856 |
| _version_ | 1818503183321792512 |
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| author | Cristina Elgue-Martini |
| author_facet | Cristina Elgue-Martini |
| author_sort | Cristina Elgue-Martini |
| collection | DOAJ |
| description | From a thematic approach to literature and the arts, the article aims at exploring and comparing how the Postapocalypse is constructed in the trilogy MaddAddam by Canadian writer Margaret Atwood (n. 1939) and the recent works of the young Argentinean sculptor Adrián Villar Rojas (n. 1980). The production of both artists is approached as belonging to a dystopian tradition, defined mainly from Frederic Jameson’s point of view. The main interest of Atwood’s trilogy is centered on the conditions of survivalof the human species on the planet after the “waterless flood”, a pandemic produced in a laboratory of bioengineering. Atwood believes in the possibility of survival, in a new beginning of culture on the planet on the basis of an unprecedented hybrid life born out of the mixing of human beings and beings born in laboratories, and a new approach to animal and natural life. As to Villar Rojas, though his first site-specifics are quite pessimistic as to the fate of the planet, in the title of one of his XXIst Century exhibitions -Today We Reboot the Planet, in the Serpentine Sackler Gallery, London (2013)- the faith in a Postapocalypse begins to emerge. The analysis will precisely focus on the techniques he uses in his celebrated site-specific art to attain this aim. |
| first_indexed | 2024-12-10T21:20:34Z |
| format | Article |
| id | doaj.art-cd5b81d2e4074801a3eb3bbb93890cb0 |
| institution | Directory Open Access Journal |
| issn | 1852-4737 2591-3883 |
| language | English |
| last_indexed | 2024-12-10T21:20:34Z |
| publishDate | 2020-12-01 |
| publisher | Universidad Nacional de Córdoba |
| record_format | Article |
| series | Revista de Culturas y Literaturas Comparadas |
| spelling | doaj.art-cd5b81d2e4074801a3eb3bbb93890cb02022-12-22T01:33:09ZengUniversidad Nacional de CórdobaRevista de Culturas y Literaturas Comparadas1852-47372591-38832020-12-0110182735609Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar RojasCristina Elgue-Martini0Facultad de Lenguas, Universidad Nacional de CórdobaFrom a thematic approach to literature and the arts, the article aims at exploring and comparing how the Postapocalypse is constructed in the trilogy MaddAddam by Canadian writer Margaret Atwood (n. 1939) and the recent works of the young Argentinean sculptor Adrián Villar Rojas (n. 1980). The production of both artists is approached as belonging to a dystopian tradition, defined mainly from Frederic Jameson’s point of view. The main interest of Atwood’s trilogy is centered on the conditions of survivalof the human species on the planet after the “waterless flood”, a pandemic produced in a laboratory of bioengineering. Atwood believes in the possibility of survival, in a new beginning of culture on the planet on the basis of an unprecedented hybrid life born out of the mixing of human beings and beings born in laboratories, and a new approach to animal and natural life. As to Villar Rojas, though his first site-specifics are quite pessimistic as to the fate of the planet, in the title of one of his XXIst Century exhibitions -Today We Reboot the Planet, in the Serpentine Sackler Gallery, London (2013)- the faith in a Postapocalypse begins to emerge. The analysis will precisely focus on the techniques he uses in his celebrated site-specific art to attain this aim.https://revistas.unc.edu.ar/index.php/CultyLit/article/view/31856postapocalypsedystopialiteraturethe plastic arts |
| spellingShingle | Cristina Elgue-Martini Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas Revista de Culturas y Literaturas Comparadas postapocalypse dystopia literature the plastic arts |
| title | Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas |
| title_full | Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas |
| title_fullStr | Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas |
| title_full_unstemmed | Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas |
| title_short | Construing the Postapocalypse in Two Different Spaces and Artistic Languages: Margaret Atwood and Adrián Villar Rojas |
| title_sort | construing the postapocalypse in two different spaces and artistic languages margaret atwood and adrian villar rojas |
| topic | postapocalypse dystopia literature the plastic arts |
| url | https://revistas.unc.edu.ar/index.php/CultyLit/article/view/31856 |
| work_keys_str_mv | AT cristinaelguemartini construingthepostapocalypseintwodifferentspacesandartisticlanguagesmargaretatwoodandadrianvillarrojas |