摘要：An aesthetic conscience, critical of traditional models and defender of gender equality. This is the starting point of the monumental sculpture of the Ceuta artist Elena Laverón, visible not only in the wide catalog of her works but also in her own vital attitude; a position argued from her youth to compete with the actions of her partners and, finally, overcome reluctance, prejudice or unequal treatment. This activism is not strange in today’s society but if it arouses attention if it takes place in times where even the androcentric views prevail in the face of any possible resilience. That is the pioneer case of Laverón who, preceding standardized approaches today and opening experimental routes that are the basis of subsequent transgressive actions. Based on these parameters, she manages to externalize a suggestive exercise of social re-semantization of public space through sculptural matter. The ultimate substratum of such intentions is especially in keeping with the intellectual attitude set forth decades earlier by the filosopher María Zambrano; its principles, turned into universal ones, may perhaps serve as theoretical support for Laverón’s artistic activity.
其他摘要：An aesthetic conscience, critical of traditional models and defender of gender equality. This is the starting point of the monumental sculpture of the Ceuta artist Elena Laverón, visible not only in the wide catalog of her works but also in her own vital attitude; a position argued from her youth to compete with the actions of her partners and, finally, overcome reluctance, prejudice or unequal treatment. This activism is not strange in today's society but if it arouses attention if it takes place in times where even the androcentric views prevail in the face of any possible resilience. That is the pioneer case of Laverón who, preceding standardized approaches today and opening experimental routes that are the basis of subsequent transgressive actions. Based on these parameters, she manages to externalize a suggestive exercise of social re-semantization of public space through sculptural matter.The ultimate substratum of such intentions is especially in keeping with the intellectual attitude set forth decades earlier by the filosopher María Zambrano; its principles, turned into universal ones, may perhaps serve as theoretical support for Laverón’s artistic activity.
