The sound paradigm and the emergence of the object Regarding Antoni Tàpies’ Porta metal.lica i violí
Abstract
The aim of this text is to deal with the influence of the sound paradigm on the emergence of the object in Tàpies’ work, especially in Porta metàl.lica i violí (1956). The expression “sound paradigm” refers to the paradigm of resonance rooted in the treatment of timbre in Richard Wagner’s music, which is also present in the assumptions of W. Kandinsky. This paradigm is linked to a preoccupation with both sound and visual matter, and its influence has been felt throughout most of the 20th century. The link between resonance and matter is analyzed in this text, taking into account the theoretical context that precedes the emergence of this work. To this end, we focus on the text La encrucijada del arte by Arnau Puig as well as on Tàpies’ interest in alchemy. This allows us to situate Porta metàl.lica i violí as an assemblage, in the artist's own words, which contains this sound paradigm and helps us to understand matter in resonance with the artist and with itself.
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