Dialogism and intertextuality in the work of Remo Bianchedi and its institutional context

In this doctoral thesis entitled "Dialogism and Intertextuality in the Work of Remo Bianchedi and his institutional context," we analyze certain categories and theoretical perspectives on the problem of the visual image and the work of art in the dimension of cultural semiotics. To this end, we apply elements from a set of textual theories—Bajtín (1997), Bajtín & Voloshinov (1976), Calabrese (1993), Bourdieu (1988, 1990, 1995, 2003) and Verón (1998)—to the actions, products, and practices of an artistic context of the visual arts in Argentina in general and of the artist in particular, taking into account the dimensions and complexity of such artistic manifestations and their significant surfaces, considering the works as theoretical objects, endowed with metasemiotic means. This allows us to simultaneously carry out a historiographical analysis of certain poetic and philosophical references from critical theory of modernity: Rimbaud, Wittgenstein, Benjamin, and from modern visual arts: from  the historical avant-garde and the neo-avant-garde: Duchamp, Beuys, et al. And how our artist—Bianchedi—reappropriates these legacies in a dialogical, intertextual, and allegorical key—Brea (1991), Buchloh (2004)—using poetic procedures characteristic of contemporaneity or the neo-baroque age (Calabrese). In addition to the author's artistic and literary production, we analyze his institutional context, referring to the Nautilius Foundation, in the field of emerging artistic formations (Williams) during the Argentine crisis of 2001. Likewise, this work makes an epistemic-methodological contribution by taking the work: The Large Glass. The Bride Stripped Bare by Her Bachelors, Even (Duchamp, 1915-1923) as a topographical model for research.