107 results
Search Results
2. Paper trails for the history of Fluxus and Zaj: between document and art practice
- Author
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Henar Rivière Ríos
- Subjects
fluxus ,zaj ,arte de acción ,historiografía del arte ,fuentes ,teoría del arte. ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
Fluxus and Zaj issue a challenge to the Historiography of Art as pioneers of Performance Art. Born in the beginning of the sixties, both experimental Neo-Avant-Gardes inaugurated this new kind of artistic practice, which emphasizes eventuality and multiplicity, and thus excludes the creation of concluded, closed, lasting works of art. The present paper deals with the difficulties that such a practice poses to Art Historians. It does so by means of a methodological approach of historiographical reconstruction, to which a critical analysis is applied, allowing for new ways of interpreting and understanding this challenge. Moreover, being carried out as a comparative analysis between both Zaj and Fluxus, this article points out relevant affinities and differences between them, helping outline the character and singularity of each one.
- Published
- 2012
- Full Text
- View/download PDF
3. Intermedial participatory culture: ludification and gamification for sustainable development
- Author
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Carolina Fernández-Castrillo and Asunción López-Varela Azcárate
- Subjects
climate crisis ,game-based participation ,intermediality ,public engagement ,serious games ,Fine Arts ,Visual arts ,N1-9211 - Abstract
The research approaches civic engagement from the perspective of Intermedial Studies, shedding light on different strategies of ‘mediation’, the way people engage in civic practices and shape the public sphere in postdigital culture. The paper explores the evolution of civic webs, living labs, forms of meaningful play in ludified transmedia practices, and serious videogames as diverse media that can address the intersection of civic engagement and sustainable development. A focal point of the research is the role of intermedial participatory strategies to promote a sociocultural scenario sensitive towards United Nations' Sustainable Development Goals (SDGs) related to urban planning, smart cities, and environmental issues. Building upon this starting point, the study extends to the transformative realms of transmedia storytelling and the difference between ludification and gamification, elucidating the main role of game-based public participation to fostering community engagement and eco-digital literacy. The paper supports the empowering potential of multiplatform, co-creative and experimental environments in advancing communal pursuits of sustainable goals in interconnected and offline contexts for sociocultural innovation.
- Published
- 2024
- Full Text
- View/download PDF
4. Beyond Boundaries: Painting Re-inscriptions in the Fifteenth to Seventeenth Century China
- Author
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Wenxin Wang
- Subjects
painting re-inscriptions ,China ,literati painting ,boundaries of time of space ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper explores the widespread practice of adding multiple inscriptions to a single artwork at different times in the fifteenth to seventeenth centuries China. Such practices became prominent when literati painters revisited artworks they had previously created or owned, or when paintings had accumulated a multitude of inscriptions over time. Within the realm of Chinese art discourse, this phenomenon is denoted as “re-inscriptions.” By examining re-inscriptions written on extant paintings and embodied in individual anthologies, this paper demonstrates that these texts transcended the boundaries of art and touched upon the painters’ own lives and the society in which they lived. On the one hand, literati painters engaged in a dialogue with their past selves through re-inscriptions, exploring themes of mortality, aging, and the passage of time – topics seldom addressed in traditional Chinese painting. On the other hand, they utilized re-inscriptions as a means of social interaction, with some re-inscriptions becoming formulaic, adaptable to various artworks to meet different social needs. Furthermore, when faced with preexisting inscriptions on an artwork, artists added new ones for a conversation with their predecessors. Throughout this process, the accumulation of inscriptions transformed the artwork into a layered cultural narrative, and enabled the literati painters in shaping a elite community transcending time and space.
- Published
- 2024
- Full Text
- View/download PDF
5. The landscape theme of Han bamboo carving art
- Author
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Xue Gong and Bianca de Divitiis
- Subjects
bamboo carving ,landscape theme ,painting ,literati culture ,visual narrative ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper examines the correlation between the form and surface visual narrative of Han bamboo-carved stationery and painting, with the purpose of comprehending how bamboo carving articulates the material and cultural universe of the Han people. During the mid-Ming and Qing dynasties, the Han literati possessed a large number of exquisite bamboo-carved stationeries with landscape motifs. The relationship between bamboo carving landscape motifs and landscape painting is a manifestation of the fusion of Confucian religions in the Han literati culture. We combine a discussion of the decorative motifs in bamboo carving work together with the brushstrokes, techniques and composition of landscape painting in order to explore the expression of culture in bamboo carving. Although bamboo carving art mainly represents the interaction between bamboo carving artists and the material pursuit of literati, it also exhibits the development relationship between painting and craftsmanship. The landscape motif theme of bamboo carving is the representative of craftsmanship and innovation across materials. This is also a valid reason for investigating how Han craftsmanship gradually became professionalized and artistic. The paper argues that bamboo carvings as utensils created a new stage for Han literati culture and facilitated contact with the private market.
- Published
- 2023
- Full Text
- View/download PDF
6. Jababacoa=Jababacoa
- Author
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Loreto Alonso, Diego Del Pozo, Luis Gárciga, and Eduardo Galvagni
- Subjects
arte y trabajo ,subjetividad y trabajo ,crisis del capitalismo ,nuevos imaginarios productivos ,fordismo y postfordismo ,feminización del trabajo ,periodo especial en cuba ,memoria industrial ,guanabacoa ,videomapping artesanal=art and labor... ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Este paper visual da cuenta del proyecto Jababacoa del colectivo artístico C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni y Diego del Pozo) + Luis Gárciga. El proyecto comenzó con la instalación de un taller de confección textil en el Museo Histórico de Guanabacoa (La Habana, Cuba). Con máquinas de coser modernas y todos los materiales necesarios, se convocó a las antiguas trabajadoras de los talleres textiles que hasta los años noventa podían encontrarse en el municipio de Guanabacoa. Se trataba de la creación de un espacio, pero también de una reconstrucción de la historia oral de estas mujeres, así como de la oportunidad para compartir posiciones y preguntas sobre modos de producción y nuevos imaginarios. Con los materiales documentales y las ideas que surgieron en la colaboración, realizamos una instalación audiovisual con proyecciones de videomapping que se presentó en el Centro de Desarrollo de las Artes Visuales para la XIII Bienal de La Habana en 2019. Recordar colectivamente las prácticas de mujeres de estos antiguos talleres de costura es el punto de partida desde el cual desplegamos muy distintos ejes de reflexión y creación, como lo industrial y lo artesanal, y sus implicaciones en los modelos productivos, la identidad local y el patrimonio, la producción afectiva ligada a las condiciones de trabajo, y las formas de conciliar vida privada y laboral, especialmente la manera en la que las mujeres consiguen ser trabajadoras, amas de casa, madres, hijas, etc. Se trata de reactivar una memoria colectiva que queremos inscribir en el contexto de un museo de historia, para lo que convertimos una de sus salas en taller de confección. Las jabas o bolsas que confeccionamos son objetos-relatos de un proceso de transmisión oral de fragmentos de la memoria colectiva, que comparten una perspectiva feminista y que orbitan alrededor de experiencias de vida en los años 90´s, momento en que los talleres textiles semi-industriales empezaron a cerrar o transformarse como consecuencia relativa a la caída del bloque de países socialistas en Europa del Este. Los materiales producidos y la documentación de la experiencia se presentaron en el Museo Histórico de Guanabacoa, en el que también organizamos una charla con especialistas de patrimonio industrial e historia del municipio, como parte del programa de actividades públicas de la Bienal. Como elementos simbólicos, hemos tenido muy en cuenta la necesidad de transmitir no solo los contenidos de una historia de trabajo y producción, sino los afectos que la experiencia de los talleres dejó en sus trabajadoras, así como la huella de su desmantelamiento en términos económicos, pero sobre todo humanos. La instalación refleja algunos elementos simbólicos y da cuenta de un constante cambio de las escalas entre lo individual y lo global, o de lo local y lo universal. Jababacoa propone añadir a la identidad histórico-cultural de Guanabacoa, frecuentemente relacionada con las prácticas religiosas afrocubanas, su pasado obrero como centro de producción industrial. A través de conversaciones entre las participantes y de la creación de situaciones, tratamos el concepto de trabajo más allá de su dimensión remunerada, para visibilizar sus implicaciones sobre lo identitario y lo afectivo, y los procesos de subjetivación e interrelacionalidad. Trabajamos públicamente con estos asuntos para poder, a partir de esta identificación, conseguir referencias comunes para futuros posibles. This visual paper provides an account of Jababacoa, a project by the artist collective C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni and Diego del Pozo) + Luis Gárciga. The project started with the mounting of a textile manufacturing workshop in the History Museum of Guanabacoa in Havana, Cuba. With modern sewing machines and every necessary material, former workers of the textile workshop, who could be found in Guanabacoa until the 90s, were convened. It was about the creation of a space, but also about the reconstruction of these women’s oral history. Additionally, it was an opportunity to share standpoints and questions about production methods and new imaginaries. With documentary material and the ideas that came up during the collaboration, we created an audiovisual installation with video mapping projections that was exhibited in the Visual Arts Development Center for the 13th Havana Biennial in 2019. Collectively remembering women’s practices in these former sewing workshops is the starting point from which we unfolded very different paths of analysis and creation, such as theindustrial and the handcrafted, their implications in production models, local identity and patrimony, the emotional production linked to the working conditions, and the ways to reconcile private and work life, especially how women manage to be workers, housekeepers, mothers, daughters, etc. It is about reactivating a collective memory that we want to inscribe in the context of a history museum. To do that, we transformed one of its rooms into a textile workshop. The jabas or bags we manufactured are both objects and tales of an oral transmission process of collective memory fragments that share a feminist perspective and orbit around life experiences in the 90s, when semi industrial textile workshops began to close or to be transformed as a consequence of the fall of the socialist bloc in Eastern Europe. The resulting materials and the documentation of the experience were introduced in the History Museum of Guanabacoa, where we also organized a talk with specialists in industrial patrimony and the town’s history as part of the Biennial’s public activities program. Regarding symbolic elements, we have kept in mind the need to transmit not only the contents of a history of labor and production, but also the emotional footprint that the workshop experience left on its workers, as well as the mark left by the workshop dismantling from an economic and, more importantly, a human perspective. The installation reflects some symbolic elements and highlights the constant change in the scale between the individual and the global, or the local and the universal. Jababacoa sets out to add Guanabacoa’s laboring past as an industrial production center to its historical and cultural identity, which is frequently associated with Afro-Cuban religious practices. Through conversations among the participants and the creation of situations, we addressed the concept of labor beyond its monetary side, raising awareness about its implications on identity and emotions, and the processes of subjectification and interrelationality. With this identification as a starting point, we worked on these issues together with the public to be able to get common reference points for possible futures.
- Published
- 2022
7. Hunting notes from Outernet: The embodiment of images after the Internet
- Author
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Javier Fresneda
- Subjects
Internet ,Outernet ,Wilderness ,landscape ,body ,hunter ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper describes the infiltration of the image from the Internet to the everyday environment, what is beginning to be called the Outernet. However, this shift toward the physical space – architectural, urban, geological – is performed by prioritizing the technical and informative character of the image, which reduces the body to stationary and dissociated situations. From this point of departure we propose a parallel situation, in which we present the body as a transducer between image-providing devices and environments. We will consider the Outernet from its rereading as a low-fidelity Wilderness, a hybrid landscape where the body can hunt and embody image in a wild way – not entirely rational –, here described as performative research. Shifting the intentionality of our movements, we unfold a field of relationships in which the image is distributed along the body, the device, and the environment.
- Published
- 2024
8. Cuerpo y deseo de escritura —diarios—
- Author
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Yera Moreno Sainz-Ezquerra and Melani Penna
- Subjects
Escritura ,diarios ,deseo ,autobiografía ,academia ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Empezamos como profesoras a tiempo completo en la universidad. Una en R.D. otra en MAD, nos separan un océano y el Caribe. Es la primera vez que estamos a tiempo completo en la academia, por eso tenemos ilusión aunque tenemos más de treinta y cinco años y a esa edad no se tienen ya tantas ilusiones, nos lo llevan diciendo desde pequeñitas: “el fuego, tanto el amoroso como el vital, se apaga con los años” o al menos debería. Este es un intento de escritura desplazada. Como todo intento probablemente contiene en su gesto inicial ya cierta tendencia al fracaso, a instalarse en él como posibilidad de ser. Ser otra escritura que, aún en lo académico, reniega y pervierte lo académico mismo e imagina otro tipo de escrituras, atravesadas por el cuerpo y el deseo. Como intento, este borrador intercala y pone en diálogo distintos registros escritos (amorosos, laborales, cotidianos), cuya escritura es producida por manos que se desean, se tocan, se acarician, se aman, pero que ahora se viven en la distancia y se enredan en una escritura marcada, precisamente, por esa distancia geográfica. También dialoga con esas muchas otras que leemos y que nos acompañan. Podríamos decir que escribimos este texto con el objetivo de cuestionar la academia y sus escrituras normativas, podríamos decir que lo escribimos para sacarle los colores a esa academia que nos expulsa, pero que se nutre de nosotras, de nuestras precariedades, de nuestros ritmos hiperproductivos y de nuestro deseo que soterrado y vestido de uniforme, late y produce papers. En este texto lo que hay es ese deseo pero en bruto y sin formateo. Nuestro último escrito a cuatro manos no salió bien, o sí, fue el Decálogo de ideas para una escuela feminista, tuvo mucho eco, como un grito en una cueva. Recibimos muchas críticas por ello, críticas anónimas, sin cuerpo, hacia nuestros cuerpos que escriben, que sienten, que disienten, y que imaginan que las escrituras, y los espacios en los que se producen, pueden ser otras, y, sobre todo, pueden compartirse con otras.
- Published
- 2024
9. The Age of Insiders. The disappearance of the Outside
- Author
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Helena Grande
- Subjects
outside ,globalization ,Whole Earth Catalog ,forms of organization ,interstice ,Fine Arts ,Visual arts ,N1-9211 - Abstract
In this paper I present a reflection on the influence of the concept of globalization in the forms of organization and the disappearance of the outside as an idea of a possible independent system or space. In line with the exhibition The Whole Earth. California and the Disappearance of the Outside and the conference Documents, Constellations, Prospects, I propose, on the other hand, an analysis of the narratives arising within the Californian counterculture. On the other hand, I address certain theoretical approaches and artistic practices as examples of how we are rethinking the forms of organization, not as independent of an organized system but as an interstice within that same system.
- Published
- 2024
10. Manifiesto parcial
- Author
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Grupo de Investigación del Instituto de Estudios del Porno
- Subjects
Pegada virtual ,porno ,trabajo sexual ,metodologías críticas ,cómic disidente ,memética ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Este paper visual es una materialización virtual de un conjunto de sesiones de trabajo específicas del Grupo de investigación del IEP —Instituto de Estudios del Porno—. Parte de una voluntad por poner en práctica metodologías de producción de pensamiento que se desmarcan de las inercias logocéntricas, incorporando así un desplazamiento de las dinámicas de autoría clásica hacia formas de pensar y crear colectivamente. Esta propuesta apuesta por conjunciones de saberes distintos, de encuentros entre la investigación histórica, el trabajo con imágenes, el pensamiento crítico y la revisión de debates contemporáneos alrededor de los feminismos y las políticas del cuerpo. Jugamos con el lenguaje del boceto, del meme y del cómic. Interpeladxs por los actuales ataques hacia la realidad de las trabajadoras del sexo en el terreno legislativo, el texto-imagen ofrece este asunto desde otra perspectiva. A través de la personificación de un elemento prostibulario, significante e histórico, como la Carassa, damos cuenta de aquellas capas, perspectivas y realidades necesariamente olvidadas para la construcción de un discurso estatal regulatorio que continúa con políticas prohibicionistas y censuradoras de/contra la sexualidad y sus economías.
- Published
- 2024
11. Jababacoa
- Author
-
Loreto Alonso, Eduardo Galvagni, Diego del Pozo, and Luis Gárciga
- Subjects
Arte y trabajo ,subjetividad y trabajo ,crisis del capitalismo ,nuevos imaginarios productivos ,fordismo y postfordismo ,feminización del trabajo ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Este paper visual da cuenta del proyecto Jababacoa del colectivo artístico C.A.S.I.T.A (Loreto Alonso, Eduardo Galvagni y Diego del Pozo) + Luis Gárciga. El proyecto comenzó con la instalación de un taller de confección textil en el Museo Histórico de Guanabacoa (La Habana, Cuba). Con máquinas de coser modernas y todos los materiales necesarios, se convocó a las antiguas trabajadoras de los talleres textiles que hasta los años noventa podían encontrarse en el municipio de Guanabacoa. Se trataba de la creación de un espacio, pero también de una reconstrucción de la historia oral de estas mujeres, así como de la oportunidad para compartir posiciones y preguntas sobre modos de producción y nuevos imaginarios. Con los materiales documentales y las ideas que surgieron en la colaboración, realizamos una instalación audiovisual con proyecciones de videomapping que se presentó en el Centro de Desarrollo de las Artes Visuales para la XIII Bienal de La Habana en 2019. Recordar colectivamente las prácticas de mujeres de estos antiguos talleres de costura es el punto de partida desde el cual desplegamos muy distintos ejes de reflexión y creación, como lo industrial y lo artesanal, y sus implicaciones en los modelos productivos, la identidad local y el patrimonio, la producción afectiva ligada a las condiciones de trabajo, y las formas de conciliar vida privada y laboral, especialmente la manera en la que las mujeres consiguen ser trabajadoras, amas de casa, madres, hijas, etc. Se trata de reactivar una memoria colectiva que queremos inscribir en el contexto de un museo de historia, para lo que convertimos una de sus salas en taller de confección. Las jabas o bolsas que confeccionamos son objetos-relatos de un proceso de transmisión oral de fragmentos de la memoria colectiva, que comparten una perspectiva feminista y que orbitan alrededor de experiencias de vida en los años 90´s, momento en que los talleres textiles semi-industriales empezaron a cerrar o transformarse como consecuencia relativa a la caída del bloque de países socialistas en Europa del Este. Los materiales producidos y la documentación de la experiencia se presentaron en el Museo Histórico de Guanabacoa, en el que también organizamos una charla con especialistas de patrimonio industrial e historia del municipio, como parte del programa de actividades públicas de la Bienal. Como elementos simbólicos, hemos tenido muy en cuenta la necesidad de transmitir no solo los contenidos de una historia de trabajo y producción, sino los afectos que la experiencia de los talleres dejó en sus trabajadoras, así como la huella de su desmantelamiento en términos económicos, pero sobre todo humanos. La instalación refleja algunos elementos simbólicos y da cuenta de un constante cambio de las escalas entre lo individual y lo global, o de lo local y lo universal. Jababacoa propone añadir a la identidad histórico-cultural de Guanabacoa, frecuentemente relacionada con las prácticas religiosas afrocubanas, su pasado obrero como centro de producción industrial. A través de conversaciones entre las participantes y de la creación de situaciones, tratamos el concepto de trabajo más allá de su dimensión remunerada, para visibilizar sus implicaciones sobre lo identitario y lo afectivo, y los procesos de subjetivación e interrelacionalidad. Trabajamos públicamente con estos asuntos para poder, a partir de esta identificación, conseguir referencias comunes para futuros posibles.
- Published
- 2024
12. You never know what you’re recording
- Author
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Fernando Baños and Yayo Aznar
- Subjects
Fine Arts ,Visual arts ,N1-9211 - Abstract
Guidelines for a correct (and reader-friendly) appreciation of the text: this text was not written with consensus of opinion. It is an exchange of ideas through dialogue between an art historian and the creator of a video-essay based on specific images of the war in Bosnia. This ’textual collage’ was presented as a paper during the seminar “Art thinks; thinking with images” in June 2010 and formed part of the R&D project Images of art and the rewriting of narratives in global visual culture. The reader should note that the text in italics identifies comments of the art historian (Yayo Aznar Almazán) whereas normal text is that of the artist (Fernando Baños Fidalgo).
- Published
- 2024
13. In Spite of Everything, to Appear
- Author
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Helena Chávez Mac Gregor
- Subjects
Appearance ,Ayotzinapa ,forced disappearance ,aesthetics ,politics ,common ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This article examines the notion of appearance in the context of the violence and terror exemplified by the mass disappearance of 43 students from the Raúl Isidro Burgos Rural Teacher-Training College. This case will help to explore the conditions of politics in zones where the state has transformed itself into a war machine and the practices in which, in spite of all, the common can be made to appear. Revisiting a project of the Teatro Ojo collective, What is to come, the paper articulates approaches of Hannah Arendt, Georges Didi-Huberman and Jacques Rancière to think of the notion of appearance as an aesthetic operation that is also political.
- Published
- 2024
14. Artistic loops in environment memory
- Author
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Loreto Alonso Atienza
- Subjects
Environment Memory ,Loop ,Collective Dream ,Internet ,Art ,Fine Arts ,Visual arts ,N1-9211 - Abstract
At a time when much of our life depends on the satisfactory exchange of networked digital data, socially shared memory could be interpreted as a floating environment of data and procedures to which we only have limited access. Cultural practices and artistic projects operating in this environment, proposing aesthetic positions and activating critical issues. This article shows the concept of environment memory, associated with technological innovations, in the omnipresence of the collective dream that Benjamin links with modernity and cinema. We will address this potential evolution of what we deem to be environmental memory through three fictional narratives, Nineteen Eighty Four, Big Brother and The Congress. In the second part of the paper we elaborate on some dimensions of this environment memory, considering the current folksonomic condition and data circulation on the Internet. And we will focus on some relevant strategies and artistic trends, starting from what we define as loops in the transmission channels and the consumption of resources (Parasite Loop, Interactive estrangement Loop, Infinite reproduction Loop, Prosurfer Loop and Popinternet Loop), which, among other things, seem to question what is proper and improper in what we interpret as environment memory.
- Published
- 2024
15. A common-to-come Fictionalising the common at the crossover of theatre and history
- Author
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Andrea de la Serna
- Subjects
people-to-come ,common ,history ,theatre ,ontology ,Peter Brook ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper deals with the complicities between history and theatre, starting from the deleuzian concept of people to-come (peuple à venir) and from the images of the Peter Brook’s film Marat/Sade. Both concept and image will contribute to understand the meaning of fictionalizing the common and from which ontological, aesthetic and political proposals we can face the issue. The tension between aesthetics and politics will constantly appear through the text, and it will help us to think about a concept of “common” that does not accommodate neither by a representational thought nor an account of the historic understood as the process of major revolutions. Both proposals will complete each other and will help me to think about the meaning of a common world-to-come.
- Published
- 2024
16. Spaces and roles of contemporary art in industrial and technological ruins
- Author
-
Juan Manuel Cano Sanchiz
- Subjects
art spaces ,upcycling art ,industrial heritage ,adaptive reuse ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This article proposes some potential contributions of contemporary art to industrial and technological heritage discussions. The paper analyses the relations among art, industrial ruins, technological trash, heritage, and society from an archaeological perspective, although this standpoint is compared to and complemented with those of art and art history. First, the text presents how industrial sites and technological artefacts from the recent past are transformed for/by the artists. In doing so, it offers a preliminary basic typology of art-obsolescence relations illustrated with cases from Europe, Asia and the Americas. Four major kinds of interactions are introduced: the conversion of abandoned industrial buildings into art galleries and museums; the transformation of larger obsolete industrial/technological areas into creative hubs; the intervention of artists in industrial ruins; and the creative recycling of technological waste. Second, the text infers from the examples provided in the typology three possible functions of art regarding heritage: revelation/addition of value; mediation between the public and dark heritages; and recognition in technological and industrial history. In the end, the paper defends the role of art in the making of industrial and technological heritages, as well as in reconnecting them to society.
- Published
- 2022
- Full Text
- View/download PDF
17. Manifiesto parcial: permacultura visual contra las derivas sexófobas y discriminatorias= Partial Manifesto: visual permaculture against sexophobic and discriminatory aberrations
- Author
-
Grupo de Investigación Instituto de Estudios del Porno
- Subjects
pegada virtual ,porno ,trabajo sexual ,metodologías críticas ,cómic disidente ,memética/virtual gluing ,porn ,sex work ,critical methodologies ,dissident comics ,memetics ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Resumen Este paper visual es una materialización virtual de un conjunto de sesiones de trabajo específicas del Grupo de investigación del IEP —Instituto de Estudios del Porno—. Parte de una voluntad por poner en práctica metodologías de producción de pensamiento que se desmarcan de las inercias logocéntricas, incorporando así un desplazamiento de las dinámicas de autoría clásica hacia formas de pensar y crear colectivamente. Esta propuesta apuesta por conjunciones de saberes distintos, de encuentros entre la investigación histórica, el trabajo con imágenes, el pensamiento crítico y la revisión de debates contemporáneos alrededor de los feminismos y las políticas del cuerpo. Jugamos con el lenguaje del boceto, del meme y del cómic. Interpeladxs por los actuales ataques hacia la realidad de las trabajadoras del sexo en el terreno legislativo, el texto-imagen ofrece este asunto desde otra perspectiva. A través de la personificación de un elemento prostibulario, significante e histórico, como la Carassa, damos cuenta de aquellas capas, perspectivas y realidades necesariamente olvidadas para la construcción de un discurso estatal regulatorio que continúa con políticas prohibicionistas y censuradoras de/contra la sexualidad y sus economías. Abstract This visual paper is a virtual materialization of a set of specific working sessions of the research group of the IEP -Institute of Porn Studies-. It is based on a desire to put into practice methodologies for the production of thought that break away from logocentric inertias, thus incorporating a shift from the dynamics of classical authorship towards ways of thinking and creating collectively. This proposal bets on conjunctions of different knowledge, of encounters between historical research, work with images, critical thinking and the review of contemporary debates around feminisms and body politics. We play with the language of sketches, memes and comics. Challenged by the current attacks on the reality of sex workers in the legislative field, the text-image offers this issue from another perspective. Through the personification of a prostibulary, significant and historical element, such as the Carassa, we account for those layers, perspectives and realities necessarily forgotten for the construction of a regulatory state discourse that continues with prohibitionist and censoring policies of/against sexuality and its economies.
- Published
- 2021
18. Artistic Practices in Lockdown: Resistance and Collectivism during the Covid-19 Pandemic in Portugal
- Author
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Raquel Ermida and Cristina Pratas-Cruzeiro
- Subjects
Art ,covid-19 ,collectives ,public space ,Portugal ,Fine Arts ,Visual arts ,N1-9211 - Abstract
In 2020, the COVID-19 pandemic exacerbated the precariousness and working conditions of artists and cultural workers globally, including Portugal. Through the research project Práticas Artísticas Confinadas: Resistência e Coletivismo na Pandemia Covid-19 em Portugal (Artistic Practices in Lockdown: Resistance and Collectivism during the Covid-19 Pandemic in Portugal), undertaken between December 2021 and June 2022, it was possible to conclude that amid this crisis, Portuguese cultural workers mobilised collectively to advocate for labour rights, expose irregularities within cultural institutions and secure access to cultural and artistic production. Drawing on these findings, this article focuses on how the restrictions on the use of physical public spaces, which are privileged arenas for protest and participatory democracy as defined by the Portuguese Constitution, compelled these workers to devise alternative approaches to sustain their activism. Thus, the paper examines the strategies employed by cultural workers to circumvent the restrictions by adapting and subverting these spatial limitations. The article concludes with an analysis of how the use of art practices and the performativity of these strategies were crucial in ensuring the continuation of social mobilisation and democratic exercise.
- Published
- 2024
- Full Text
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19. Socially engaged art proposals: between collaboration, affect, and the commons
- Author
-
Andreia Machado Oliveiro
- Subjects
Socially engaged art ,collaborative practices ,affects ,commons ,collective ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper presents some aspects of socially engaged art proposals, such as collaborative methods, affective relationships, and the production of the common. Currently, we observe in transdisciplinary projects and collective actions a growing focus on collaborative practices as attempts to go beyond practices strictly engrained in established institutional spaces such as museums, universities, and governmental or private spaces. With the perspective of a certain local activation of collective pieces of knowledge and practices, these artistic proposals aim at the circulation of knowledge, its integration and contamination by unusual places, narratives and methodologies belonging to each daily life. Therefore, we find in socially engaged artistic practices artistic interventions that highlight the power of affects for the production of knowledge managed in communities, making us think about what relationships consist of and how they may or may not give space for the common. We understand that by considering the power of affects and art in their political and social dimensions, we incorporate a discourse of difference that allows for other possible forms of communal living.
- Published
- 2024
- Full Text
- View/download PDF
20. The School for the Deranged
- Author
-
Belén Sola Pizarro
- Subjects
mental health ,art education ,art museums ,community art ,self-representation ,affective politics ,audiovisual. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper is a first-person narrative of a project entitled “La rara troupe” (The Strange Troupe), a space for creation and co-existence between a group of people both with and without diagnosed mental illness. This space has been taking shape since 2012 in the Educational Department of the MUSAC (Contemporary Art Museum of Castile and León). The paper combines first-person narration and film-based analysis through the audiovisuals created by the group. It is a self-reflective attempt at praxis, where artistic research methodologies, the pre-eminence of the affective over the discursive, and the politicisation of discomfort are the tools we have authorised for a necessary, open and changing investigation aimed at considering contemporary cultural practices centred on approaches to reality.
- Published
- 2018
21. CASE STUDY: ZULUETA´S RAPTURE. Writtings from inside and outside the Academics on trial
- Author
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Javier Bassas Vila
- Subjects
iván zulueta ,rapture ,arrebato ,capitalism ,ideology ,productivity ,political cinema ,essay. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
The present text is divided into two parts: a presentation and a paper. First, in italics, I present what could be called “Case Study: Zulueta’s Rapture” and propose some reflections on its meaning within the framework of current university practices surrounding knowledge. Next to take the stand is the paper itself, the object of the trial, whose author proposes a political reading of the film Rapture (Arrebato in the original Spanish) by Iván Zulueta. Lastly, some conclusions are offered. I will say no more; the text has a complex structure and is best judged by reading it.
- Published
- 2018
22. Brotes verdes. Las comunas rurales de los años 70 en España=Green shoots. The rural communes of the 1970s in Spain
- Author
-
Alberto Berzosa
- Subjects
comunas rurales, movimiento ecologista, contracultura=rural communes, environmental movement, counterculture ,Fine Arts ,Visual arts ,N1-9211 - Abstract
El objetivo de este texto es analizar la importancia de los enfoques aportados por el ecologismo en el ámbito ideológico y en la práctica de oposición durante la transición española a partir del marco de estudio que ofrecen las comunas rurales. Para ello, se estudia la evolución de los imaginarios en torno a este modelo comunal, desplegados en dos revistas de referencia del contexto contracultural de finales de los años setenta, Ajoblanco y Alfalfa, así como en algunos libros publicados por activistas ecologistas de referencia a comienzos de los ochenta. A través de este enfoque, el artículo se interroga por la persistencia del compromiso con las cuestiones ecológicas en los grandes movimientos sociales de la España contemporánea desde el fin de la Dictadura en adelante, al tiempo que subraya la necesidad de explorar en profundidad episodios de la historia reciente que permitan enriquecer los relatos relacionados con la cultura visual y la memoria de los movimientos sociales en el Estado desde una perspectiva ecologista. The aim of this paper is to analyze the importance of the approaches contributed by ecologism in the ideological sphere and in the practice of opposition during the Spanish transition from the framework of study offered by rural communes. To this end, the evolution of the imaginaries surrounding this communal model, deployed in two magazines of reference in the countercultural context of the late seventies, Ajoblanco and Alfalfa, as well as in some books published by leading environmental activists in the early eighties, is studied. Through this approach, the article questions the persistence of the commitment to ecological issues in the great social movements of contemporary Spain from the end of the Dictatorship onwards, while stressing the need to explore in depth episodes of recent history that allow us to enrich the narratives related to visual culture and the memory of social movements in the State from an environmentalist perspective.
- Published
- 2023
23. Campus in Camps. Decolonizing Knowledge and the Question of Un-learning.
- Author
-
Silvia Franceschini and Luca Guerrini
- Subjects
collective learning, decolonial pedagogies, decolonizing knowledge, decolonizing design, emancipatory politics, microhistories, un-learning. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
The paper addresses the topic of decolonial pedagogies in the Global South analyzing Campus in Camps, an educational program founded in 2012 by Alessandro Petti and Sandi Hilal that activates critical communal learning within the Dheisheh refugee camp in Bethlehem, Palestine. The program reflects on refugee camps which are in a process of social and spatial transformation. The paper raises two main questions: how does the program of Campus in Camps decolonize methodologies of knowledge construction about the camp life? How does it activate processes of embodied pedagogy where knowledge is grounded in action and emerges as a group effort accommodating subjects born from the interaction among participants, tutors and the broader social context? The article will first focus on the problematic of conceivingthe camp as a site of history and knowledge. Secondly it will dig into the pedagogical strategies, research methodologies and participatory design methods enacted in order to “decolonize knowledge” through exercises of collective un-learning.
- Published
- 2017
24. Precious Textile Materials: The Case of the Embroidery with a Possible Pentecost Scene in the Museo Nacional de Artes Decorativas
- Author
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Ana Cabrera Lafuente
- Subjects
hilos metálicos ,tecnología ,bordado ,cartones ,talleres de bordado ,influencia siculobizantina ,calahorra (la rioja). ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
This paper presents the technology of the metallic threads used in the textiles of the Middle Ages trough the study of an embroidery fragment preserved in the Museo Nacional de Artes Decorativas. The origin and the development of the metallic threads technology are explained, including the different metals and alloys used. The paper also studies the questions related with the provenance and workshop of the embroidery as an example of the diversity of decorative sources and workshops active in the 12th-13th centuries in the Western Mediterranean area.
- Published
- 2015
- Full Text
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25. Semiologic process in the performance of a dance performance: a critical review
- Author
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Natalia Ollora-Triana, Miguel Corbi Santamaría, Alfredo Jiménez-Eguizábal, and Esther García-Zabaleta
- Subjects
dance ,art ,semiotic ,communication ,review ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Literature on the semiology of dance is scarce and not well integrated so far. A comprehensive review of the scholarly research would allow showing which themes are the most critical ones, and what is still needed to develop this research field. In this article we aim to fill this gap by conducting a bibliographic review of papers published in Web of Science (WoS), Scopus, Dialnet, ÍnDICEs-CSIC, EBSCO, and Google Scholar from 2000 to 2022. Our review shows that within the field of dance, previous studies have emphasized the coexistence of various dynamic elements whose main purpose is to shape the construction of the play and facilitate understanding in the dance communication process. We highlight the relevance of focusing on the spectator as constructor of meaning and participant of the symbolism of the act, and not only as a passive observer.
- Published
- 2023
- Full Text
- View/download PDF
26. Notes on camera obscura: three contemporary artistic perspectives on the path of photography
- Author
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Filippo De Tomasi
- Subjects
Camera obscura ,contemporary art ,installation ,Media Archaeology ,photography ,Fine Arts ,Visual arts ,N1-9211 - Abstract
In 1971, Rockne Krebs presented an immersive artwork composed of the optical phenomenon of the camera obscura, among other elements. Although this artist appears to be the first interested in this phenomenon, it was only from the 1990s onwards that the artistic practice of camera obscura as room installation became widespread. In the decades since, several authors have included it in their production—developing projects of a photographic nature through different approaches, mainly focusing on projected image or spectator participation. Through the method of media archaeology, it is possible to find three lines of contemporary artistic research on the phenomenon: camera obscura related to meta-photography in Abelardo Morell’s works; immersive installation pieces as proposed by Zoe Leonard; and projections of other worlds in the work of the artistic duo João Maria Gusmão and Pedro Paiva. This paper aims at a comparative study that intends to analyze these three paths, underlining the characteristics of some contemporary artworks and contextualizing their elements to the history and use of camera obscura in the photographic context.
- Published
- 2023
- Full Text
- View/download PDF
27. The Curating of Art Museums: A Model in Shifting Process
- Author
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Victoria López Benito
- Subjects
museos de arte ,museografía ,didáctica ,inteligencia emocional e interactividad. ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
The content of this paper pretends to show a changing reality: The way of displaying art. Currently, the curating of art, one of the more traditional, academic, and very little sensitive to change, is opening the door to the media and museum resources of didactic and interactive. The research on which this paper is based, aims to show how behind all this is a new way to bring art to a museum visitor. However, the early state of this research, simply presents the kinds of interactive resources that can be found in museums of art, using as a spatial frame the Anglo-Saxon and Spanish context of the last five years.
- Published
- 2013
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28. Los Comentarios de la pintura de Felipe de Guevara
- Author
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Elena Vázquez Dueñas
- Subjects
felipe de guevara ,comentarios de la pintura ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
This paper focuses on the life and work of Felipe de Guevara (c.1500-1563), who was a scholar linked to the Court of Charles V and Philip II. In the present paper, we will go through the fields in which he stood out: antiquary and numismatic, art writer, collector of Flemish paintings and ancient coins. However, a detailed study of this character is not the aim of this paper. On the contrary, we would like to show the evolution of the research work about Felipe de Guevara that we are currently carrying out in the Department of Modern Art under the supervision of Prof. Fernando Checa Cremades. After a brief introduction to the subject, where the main references of this work are described, we present the main results obtained as well as the current perspectives for the conclusion of this PhD thesis.
- Published
- 2010
29. Avatares de un manuscrito: las ciencias auxiliares de la Historia del Arte
- Author
-
Helena Carvajal González
- Subjects
historia del arte ,manuscritos ,codicología ,historia del libro ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
The paper considers in what way Art History’s auxiliary disciplines, such as codicology, palaeography, and bibliography, among others, can contribute to art-historical research. Through consideration of Rodrigo Jimenez de Rada’s Breviarium Historiae Catholicae, held in the Biblioteca Historica Marques de Valdecilla, in addition to specific references to other illuminated manuscripts in the Complutense’s collections, the paper shows how these disciplines can offer corrections or refinements in areas such as dating and examining interrelationships among different works of art.
- Published
- 2010
30. Arguments for the Rise of Artificial Intelligence Art: Does AI Art Have Creativity, Motivation, Self-awareness and Emotion?
- Author
-
Bai Liu
- Subjects
Artificial Intelligence Art ,Philosophy ,Creativity ,Emotion ,Art Development ,Fine Arts ,Visual arts ,N1-9211 - Abstract
With the advent of artificial intelligence (AI), 'AI art' was born, and the concept of 'AI aesthetics' was derived. Despite the emergence of this new concept in art theory, the question of whether artworks created by AI have artistic and aesthetic value still needs to be debated in academia. While new concepts related to AI art are emerging, the discussion of whether a sustainable and critical theory system can be constructed in the field of computers and art, which is most closely related to it, ought to be focused on AI itself to explore whether it possesses similar characteristics of creativity and emotion as traditional art creation processes. This paper will first analyze the origins and possibilities of AI art and then explore the enormous impact of the rise of AI art on current and future human society in 4 dimensions: creativity, motivation, self-awareness, and emotion.
- Published
- 2023
- Full Text
- View/download PDF
31. Globbing up the city. Architectural and urban transformation of Beijing
- Author
-
Susana Sanz Giménez
- Subjects
beijing ,juegos olímpicos del 2008 ,urbanismo ,arquitectura ,albert speer & partners ,rem koolhaas ,paul andreu ,jacques herzog & pierre de meuron ,yung ho chang ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
The following research paper develops two lines of thought, both aimed to describe Beijing’s obstacle race to become a city at the avant-garde of town-planning. The first line of thought focuses in the reorganisation of Beijing’s North-South axis, entrusted to Albert Speer & Partners. This project links the city’s past and its future; the historic city-centre with Beijing’s new developments in the North, built to host the Olimpic Games in 2008. On the other hand, the article considers the impact of a number of singular projects by architects renowned internationally, including Rem Koolhaas (1944-) and Paul Andreu (1938-). And finally, the paper concludes with a number of considerations on how Chinese architects view these projects.
- Published
- 2005
32. Arqueología visual de la subjetividad rider=Visual archeology of platform delivery worker's subjectivity
- Author
-
Juan De Andrés Arias
- Subjects
rider ,producción de subjetividad ,capitalismo de plataformas ,silicolonización ,smartphone ,trabajo=delivery platform worker ,production of subjectivity ,platform capitalism ,silicolonization ,labor. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Este artículo propone una arqueología visual de la subjetividad rider como producto del capitalismo de plataformas y la silicolonización. Se realiza un análisis descriptivo de dicha subjetividad a partir de cinco pares de imágenes dialécticas —puestas en diálogo—, dividiendo el artículo en cinco partes: se comienza con la descripción del contexto que posibilita dicha subjetividad; seguidamente, se exponen algunos de los rasgos más señalados de su problemática para acabar planteando imágenes y enunciados que remiten a otros escenarios futuros desde los que enmarcar la subjetividad rider contemporánea. This paper proposes a visual archeology of the rider —delivery platform worker—, a subjectivity produced by platform capitalism and silicolonization. A descriptive analysis of this subjectivity is carried out throughout five pairs of dialectical images —set in dialogue—, dividing the article into five parts: it begins with the description of the context that makes rider subjectivity possible; next, some of the most remarkable features of their problems are exposed, followed by images and statements that refer to other future scenarios from which to frame the contemporary rider subjectivity.
- Published
- 2022
33. Ocio, trabajo y simulación en las fábricas de Mataró=Leisure, work and simulation in the factories of Mataró
- Author
-
Mariona Piñas Moncunill
- Subjects
investigación artística ,ocio ,trabajo ,fabrica ,simulacro=artistic research ,leisure ,work ,factory ,simulacra. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Este artículo expone y reflexiona de forma crítica sobre el proyecto de investigación artística Ocio en la fábrica, que gira alrededor de la relación entre ocio y trabajo a partir de tres espacios de ocio del polígono Pla d'en Boet de Mataró (un bar, un gimnasio y un local de camas elásticas) en los que tres actrices son contratadas para llevar a cabo las actividades habituales en ellos. Remunerar a las actrices para realizar actividades de ocio se convierte en un acto simbólico de imbricar ocio y trabajo dentro de espacios industriales reconvertidos en espacios de ocio. Este artículo complementa los resultados videográficos y documentales del proceso de trabajo con una explicación detallada de su proceso, de las tomas de decisión y de las reflexiones conceptuales que lo hicieron posible. This article exposes and critically reflects on the artistic research project Ocio en la Fábria (Leisure in the factory), which revolves around the relationship between leisure and work based on three leisure spaces in the Pla d’en Boet industrial estate in Mataró —a bar, a gym and a local trampolines— in which three actresses are hired to carry out the usual activities in them. Paying actresses to carry out these leisure activities becomes a symbolic act of interweaving leisure and work within industrial spaces previously converted into leisure spaces. This paper complements the videographic and documentary results of the work process with a detailed explanation of its process, the decision-making and the conceptual reflections that made it possible.
- Published
- 2022
34. Fortaleza de la Mujer Maya (A.C.) Poéticas autogestivas de trabajo: talleres, teatro y artes populares desde el cuidado en lo comunitario=Fortaleza de la Mujer Maya (A.C.) Self-managed work poetics: Workshops, Theater and Popular Arts from Community Care.
- Author
-
Belén Romero Caballero
- Subjects
fortaleza de la mujer maya a.c. ,trabajo de cuidados en lo comunitario ,autogestión ,teatro popular ,talleres=fortaleza de la mujer maya (a. c.) ,community care work ,self-management ,popular theater ,workshops. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
El presente ensayo es un ejercicio de imaginación especulativa que aborda las poéticas autogestivas de trabajo llevadas a cabo por la asociación civil Fortaleza de la Mujer Maya confabuladas en el teatro y las artes populares, así como en múltiples y diversos talleres. Todas ellas están situadas en la propia historicidad de la asociación, las experiencias personales, intersubjetivas y simbólicas de sus integrantes junto a las de otras mujeres indígenas mayas y las políticas del lugar. A partir de aquí, proponemos el lekil kuxlejal o buen vivir maya como el motor que anima sus haceres de cuidado en lo comunitario, pues es entendido por ellas, además, como un horizonte de lucha en el que se incluye la descolonización del trabajo. Si bien, los principios e intenciones de la asociación son variados e indisociables, en esta ocasión, tomaremos como punto de referencia su compromiso con la inserción en el empleo y la vida urbana, el estímulo y creación de vidas dignas para las mujeres indígenas y campesinas pobres o de bajos recursos, que migraron de sus comunidades o pueblos a la ciudad de San Cristóbal de las Casas por diferentes motivos. Para esta narración confabularemos con la obra de teatro La vida de las Juanas (1998). This paper is an exercise of speculative imagination that addresses the self-managed poetics of work carried out by the civil association Fortaleza de la Mujer Maya (A. C.) confabulated in theater and popular arts, as well as in multiple and diverse workshops. All of them situated in the historicity of the association, the personal, intersubjective and symbolic experiences of its members together with those of other Mayan indigenous women and the politics of place. From here, we propose the Mayan lekil kuxlejal or good living as the engine that animates their care activities in the community, since it is also understood by them as a horizon of struggle that includes the decolonization of work. While the principles and intentions of the association are varied and inseparable, on this occasion, we will take as guidepost its commitment to insertion in employment and urban life, the stimulation and creation of dignified lives for indigenous and peasant women, poor or low-income, who migrated from their communities or towns to the city of San Cristóbal de las Casas for different reasons. For this narration we will confabulate with the play La vida de las Juanas (1998). http://re-visiones.net/audio/Francisca-Oseguera-Cruz.m4a
- Published
- 2022
35. Wayang Kulit Kelantan: The Challenges Between Traditional and Digital Media
- Author
-
Dahlan Bin Abdul Ghani
- Subjects
Wayang Kulit Kelantan ,Shadow play ,3D Visualization puppetry ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Traditional Malay theatre arts such as Wayang Kulit Kelantan or Shadow Play puppet Kelantan in Malaysia has been a form of entertainment. Unfortunately, this shadow play puppet has lost it touch and is slowly fading among the society in Malaysia. This paper will focus both on the traditional method and the animation method to create Kelantan shadow play 3D visualization digital puppetry. The paper will begin with some research on previous work related to traditional shadow play puppet and will name some efforts made to digitizing this type of performance. The paper will also look into the results of comparing the two techniques. The final section of the paper will attempt to highlight the challenges and future aspects of animation and traditional shadow play that would be significant in helping bring back the popularity of this Malaysian performing arts masterpiece.
- Published
- 2012
- Full Text
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36. Josef Albers: art, education and democracy
- Author
-
Clara Hernández
- Subjects
Josef Albers ,art ,education ,experimentation ,democracy ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Throughout his career as an art teacher, Josef Albers made clear his vision of a methodology of education that put the arts at its core, with the aim of teaching people to see and to understand the world through its visual and material aspects. He believed that experimentation and direct experience with reality would ultimately generate real knowledge and that it was only in this way that a conscious understanding of the world was possible: a requirement for the development of free and democratic people. This paper will analyse how Albers intertwined the ideas of art, education and democracy, and the how he understood these relations within his contemporary world.
- Published
- 2022
- Full Text
- View/download PDF
37. Dimensiones de la educación artística: Experiencias de un taller de pintura popular en un pueblo de Sevilla
- Author
-
Francisco Javier Saavedra Macías and Ana María Rodríguez Gómez
- Subjects
Artistic education ,Artistic discourse ,Social contexts ,Socio-cultural psychology ,Fine Arts ,Visual arts ,N1-9211 - Abstract
In the present paper is described the learning process of pupils of a popular workshop of painting. Discursive, behavioral and social aspects of learning are integrated. The need to analyze the concrete contexts of learning beyond the simple description of the activities inside the workshop is defended. The paper suggests the social origin of the discursive resources of the pupils and in this way “the artistic thought” is relabeled as “artistic speech”. The social contexts of activity out and inside the workshop are located in the apex of what is called an inverted triangle of the artistic education.
- Published
- 2008
38. The Architectural and Topographical views of Seville in the 1838 and 1864 sketchbooks of John Gardner Wilkinson (1797–1875)
- Author
-
Martin P. Sorowka
- Subjects
Patio de las Muñecas ,Alcazar of Seville ,Seville Cathedral ,nineteenth-century travellers ,towns of the Aljarafe ,Fine Arts ,Visual arts ,N1-9211 - Abstract
The Egyptologist John Gardner Wilkinson travelled extensively throughout Europe from 1817 to 1864 and yet little has been written about his travels other than those in Egypt. Neither has there been an analysis of his notebooks and sketchbooks in which he kept a visual and written record of these travels, potentially providing a rich seam for the historian to mine. His ability to draw architecture and topography can be appreciated in his many and varied drawings of Spain, which appear in these sketchbooks on five occasions between 1818, on his second venture abroad, and 1864 on his last. This paper evaluates the truthfulness of representation of a series of architectural and topographical views of Seville and its environs in 1838 and 1864, and it is discovered that in many instances they provide invaluable visual evidence of the appearance of lost or altered buildings and landscapes. Since these drawings are as yet unpublished, this present study makes a significant contribution both to the understanding of Wilkinson as a traveller in Spain, and to the nineteenth-century visual account of the architecture of Seville.
- Published
- 2022
- Full Text
- View/download PDF
39. Women in the Advancement of Avant-garde Culture: Galka E. Scheyer and the Promotion of Modern Architecture in California
- Author
-
José Parra-Martínez and John Crosse
- Subjects
women in avant-garde ,Galka Scheyer ,California modernism ,art and architecture ,matronage ,Fine Arts ,Visual arts ,N1-9211 - Abstract
The relocation of Galka Scheyer, the renowned art dealer and American representative of the Blue Four, to California in 1925 had a significant, yet unrecognized, impact on the development of the region’s early modern architecture. After multiple efforts to land commissions for Rudolph Schindler, her residence, designed by Richard Neutra and Gregory Ain, became a meeting place for artists and members of Hollywood’s collecting community. Around 1935, Scheyer’s unconventional house and gallery was both her trademark and a reflection of her own character as an art educator and facilitator. This paper explores the role Scheyer and some personalities of her closest art circles, particularly women, played in promoting modernist architecture. Influenced by Scheyer’s enthusiasm for the emancipatory nature of avant-garde culture, figures like Marjorie Eaton became intertwined in numerous episodes of architectural matronage. Although their stories are of paramount importance for achieving a more inclusive understanding of California modernism, these women’s contributions are frequently neglected in the canonical histories of modern architecture, in which Scheyer appears as an inopportune presence. Along with a critique of such inaccurate historiographical accounts, this essay focuses on Scheyer’s agency in linking artistic concepts and contexts as part of her project to advance Californian architecture.
- Published
- 2022
- Full Text
- View/download PDF
40. Zotz, Xochiquetzal y el origen de la menstruación= Zotz, Xochiquetzal and the origin of menstruation
- Author
-
Rurru Mipanochia
- Subjects
sexualidades ,mesoamérica ,zotz ,xochiquetzal ,menstruación ,disidencia/sexualities ,mesoamerica ,menstruation ,dissidence ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Resumen Reivindico en mi práctica artística elementos plásticos formales de los Amoxtli o códices precolombinos, como la utilización de papel Amate y los colores brillantes. Además, profundizo en la mitología y en las crónicas etnográficas que plasman concepciones diversas al género binario, así como prácticas sexuales mucho más abiertas que las que se impusieron tras la evangelización de los pueblos originarios. En estas sociedades, se reconocían más de dos géneros, desde una concepción dual y fluida que aparece en toda mi obra metafóricamente, a partir de elementos orgánicos y simbólicos que hacen alusión a la vida (sexualidad) y a la muerte. Mis personajes tienden a ser personas que voy conociendo en mi vida, y algunas veces son autobiográficas. Encarnan arquetípicamente cada una de estas deidades/energías/númenes: elles/nosotres, somos les deidades. Mujeres, compañeres de la cotidianidad, personajes numinoses, que gozan abiertamente. Son, en su mayoría, disidentes, y crean rupturas de todo tipo, se reapropian de esos espacios que les/nos han sido negados: gozan, gritan y se complacen de forma consensuada. Se sumergen en el éxtasis de sus fluidos, en la vida deleitosa del tlalticpac: personas con diversidad funcional, con cuerpos desbordantes, raquíticos, quimeras, personas trans, cyborgs, putas, insurrectas, rebeldes, artistas, migrantes, exiliades, tercermundistas, maricas, con pelos, estrías, imperfecciones en la piel, menstruantes, prietes, negres, racializades. Todes a quienes el sistema colonial-patriarcal quiere fuera de los espacios, escondides en las penumbras. A quienes no se quiere ver, quienes dan asco, les imperfectes, les invisibles. Cuerpos a los que se nos obliga a permanecer invisibles, inexistentes, escatológicos, que defecan mientras experimentan placer. Cuerpos no hegemónicos, no binarios, zoomórficos, que critican y desbaratan con su existencia las identidades impuestas, cuerpos que desestabilizan, que cuestionan, que gozan el dolor y el placer. La serie titulada Zotz, Xochiquetzal y el origen de la menstruación, comenzó en el año 2015, y ha sido expuesta en diversas muestras y espacios (Galería Art Space Mexico, Swinton & Grant Gallery, Projektraum 404, Schwules Museum, Habitación, Bruja soy, mujer espíritu, en el Centro de Arte Contemporáneo de Huarte, etc) y publicada en revistas (KALTBLUT magazine, POUSTA, etc.) además de formar parte de la plataforma digital del Museo Experimental El Eco. Se centra en la representación de un mito prehispánico relacionado con el origen de la menstruación. Xochiquetzal es una energía/deidad del placer sexual, de las flores, de las pintoras, el arte y las trabajadoras sexuales, a quien rendían culto y ofrendas las mujeres para propiciar un aborto. El mito, que explica el origen de la menstruación, cuenta que, mientras dormía, el murciélago Zotz le muerde la vulva, y Xochiquetzal comienza a sangrar. Otro mito narra que el murciélago fue creado por la simiente que Quetzalcóatl arrojó sobre una piedra después de masturbarse. Y que las flores, principalmente las Cempasúchil, flores que se usan para decorar y ofrendar el día de los muertos en México, fueron creadas por Mictlantecuhtli, deidad/energía de la muerte, cuando Zotz, el murciélago, llevó el pedacito que arrancó de la vulva de Xochiquetzal al inframundo. En la representación que hago de esta serie de mitos, intento darle un matiz sadomasoquista, donde Xochiquetzal goza del dolor consensuado ocasionado por la mordida de Zotz, que así mismo goza succionando y deleitándose con su menstruación. Abstract The series entitled Zotz, Xochiquetzal and the origin of menstruation began in 2015. It focuses on the representation of a pre-Hispanic myth related to the origin of menstruation. Xochiquetzal is an energy/deity of sexual pleasure, flowers, painters, art and sex workers, to whom women worshipped and made offerings in order to bring about an abortion. The myth, which explains the origin of menstruation, tells that while she was sleeping, the bat Zotz bites her vulva, and Xochiquetzal begins to bleed. Another myth tells that the bat was created by the seed that Quetzalcoatl threw on a stone after masturbating. And that flowers, mainly Cempasúchil flowers, which are used for decoration and offerings on the Day of the Dead in Mexico, were created by Mictlantecuhtli, deity/energy of death, when Zotz, the bat, took the bit he plucked from Xochiquetzal's vulva to the underworld. In my artistic practice I reclaim formal plastic elements from the Amoxtli or pre-Columbian codices, such as the use of Amate paper and bright colours. In addition, I delve into mythology and ethnographic chronicles that reflect conceptions that differ from the binary gender, as well as sexual practices that are much more open than those imposed after the evangelisation of the original peoples.
- Published
- 2021
41. Landscape as a Model of Architecture: A Contemporary Imitation
- Author
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Santiago Quesada-García
- Subjects
Imitation ,mimesis ,landscape ,model ,architectural design ,Fine Arts ,Visual arts ,N1-9211 - Abstract
The act of designing architecture is based on the use of various models chosen as referents. Such models may come from architecture itself or from the arts like sculpture, painting, music, literature, and so forth. They usually provide the components for architectural design. This stance leads to the notion of architectural design as the construction of a new order derived from elements, examples, or prototypes verified in time by virtue of experience. Thus, the praxis of the design process is mainly referred to as a conscious imitation of models. The thesis of this work is that landscape constitutes one of these models. Landscape should be considered a contemporary model for architectural imitation because it is a concept that reveals a dynamic reality oriented towards the future. The values of landscape produce a wish to emulate it, to assimilate it. In a renewed object–subject relationship, landscape proposes itself as a paramount issue for architectural design. This paper contextualizes and explains what comprises such renewed mimesis and why landscape is a subject that provokes a desire for active emulation in contemporary architecture.
- Published
- 2021
- Full Text
- View/download PDF
42. Towards a Pragma-Semiotics of Ritual(ized) Gesture and Performance
- Author
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Nicoleta Popa Blanariu
- Subjects
Ritual ,gesture ,performance ,pragmatics ,semiotics ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper analyzes some ritual and performing phenomena from different cultures, by using a unifying pragma-semiotics approach, especially the speech acts theory. Claude Lévi-Strauss (1995) refers to the rites as a “paralanguage”. In our opinion, his taxonomy of ritual praxis is reducible to the dichotomy constative/performative introduced by John L. Austin (1962), that he later reconsiders and transforms into the trichotomy locutionary / illocutionary / perlocutionary. In Austin’s opinion, the speech acts theory is part of a theory of action. We aim to explain that this is confirmed not only in the very linguistic act of utterance, but also in the multimodal expression (movement, gesture, word, incantation, costumes, accessories) specific to some ritual(ized) social contexts, particularly ritual performances. Like verbal performative utterances, ritual(ized) gesture and movement may have real and immediate efficiency, which means that it may produce a real-world change, from the participant’s viewpoint. Without a ritual context, the choreo-dramatic expression loses its pragmatic function – that of “modification” of the real (Lévi-Strauss, 1995). However, it manifests a different one, essentially “aesthetic”. From our point of view, the illocutionary ritual act is thus replaced by a “fictional act”, a category which was previously described by both John R. Searle (1982) and Gérard Genette (1991).
- Published
- 2019
- Full Text
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43. Female, grief and Romanticism: a reflexive art history approach to a widow sculpture
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Joana Brites and Marta Barbosa-Ribeiro
- Subjects
Widowhood ,Romanticism ,sculpture ,art history methodologies ,António Teixeira Lopes ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper aims to reflexively tackle a specific artwork: The Widow, the most renowned, yet under-studied, sculpture of António Teixeira Lopes, a prominent artist of the Portuguese nineteenth century. Therefore, the analysis of this piece, based on several inquiring procedures believed useful to all art historians, is converted into an epistemological exercise. Firstly, the Romantic sensibility is characterised, alongside the ponderment of the widow’s representational allure. Women and death’s perception in the nineteenth century is thus brought into question. Moreover, the social condition of widows and their identity codification is considered so that the relationship between reality and representation is critically appraised. Secondly, the focus shifts to the sculptor himself and his creative process. At the time living in Paris, his potential connections with death experiences, his professional goals and the pressure of the artistic environment contribute to explain Teixeira Lopes’ selection of this subject. Finally, the sculpture itself is thoroughly examined, questioning every formal choice and its meaning, searching for secular and contemporary visual stimuli which could have deliberately or unconsciously interacted within the creative process. To conclude, the need to approach an artwork simultaneously as unique and as a historical object in its turn chronologically transversal is stressed.
- Published
- 2019
- Full Text
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44. Carmen Benedet: The Case of a Pioneer Art Gallerist in the Spanish Art Circuit of the 1960s
- Author
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Juan Carlos Aparicio Vega
- Subjects
galería de arte ,oviedo ,informalismo ,circuito artístico ,benedet ,pionera. ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
This paper addresses the career of Carmen Benedet, who in 1964 established an art gallery dedicated to contemporary art in the back shop of her family’s business, in the very centre of Oviedo. The opening took place after a period of thorough training in contact with several Madrid businesses (Abril and Neblí), even though her true development would come about out of her close and permanent contact with Juana Mordó, as well as with several other intermediaries of the Spanish artistic commerce (Gaspar, Maeght, and Grupo Quince), a circle in which she inserted herself in an absolutely natural way, despite her peripheral location. Her radically modern gallery concept surprised everyone with her coherence and her bet on the latest tendencies, particularly the Art Informel ones, which she exhibited as if hers were a Madrid-based gallery.
- Published
- 2018
- Full Text
- View/download PDF
45. Historical and technical insight into the human motifs in the glass sculpture
- Author
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Maria A. Villegas-Broncano and J. Alberto Durán-Suárez
- Subjects
Sculpture ,glass ,human motif ,history ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
- Published
- 2021
- Full Text
- View/download PDF
46. The regime is live(-streamed) and kicking
- Author
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Sayak Valencia
- Subjects
fascism 2.0 ,psychopolitics ,digital colonialism ,images of violence ,transfeminism ,live-streamed regime. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
In this paper, I propose the concept of the live-streamed regime as a way to reflect on the new political dimension of the governance of emotions. This is carried out via the use of digital (audio-) visual elements, in order to stoke the fascination for violence and authoritarianism by means of the design of images and cultural material that are highly cosmetic. These kinds of images are used by the extreme digital right (the Alt-Right) to: 1) cosmeticise fascism and make it attractive again, 2) trivialise and justify the violence inflicted on communities that are disadvantaged and marginalised due to issues of gender, race, class, sexual diversity, disability or immigration status.
- Published
- 2019
47. We've no place to go. Uchronia against utopia
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Angelica Tognetti and Enric Puig Punyet
- Subjects
utopia ,uchronia ,seeds of future ,incarnate time ,history-desire ,care ,Fine Arts ,Visual arts ,N1-9211 - Abstract
This paper presents a critical analysis of the concept of utopia and the claim of uchronia as an amalgam of fluxes which sinuously move from the body and caring, regardless of the univocal and linear temporality: overflowing (uchronic) tracks to dispute the imaginary of neoliberal hegemony. This is an essay of shared writing that erotically inhabits inside and outside of academy.
- Published
- 2019
48. From the imperfection avant-garde aesthetic to the 'fascinating fascism': idea, symbol and art as mass manipulation tools in the National Socialism aesthetic
- Author
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Javier Mateo Hidalgo
- Subjects
fascism ,aesthetic ,avant-garde ,national socialism. ,Fine Arts ,Visual arts ,N1-9211 - Abstract
Nowadays, the extreme right political movements resurgence, whose success is partly consequence of some manifestations that could be considered as performative, are increasing in Europe. Employing a staging attitude to make them known, these skills are clearly used as tools into a provocative show. In this regard, these conducts could be related to The National Socialism regime manifestation of power, among other events that took place one century ago in Europe. It should be also referred the use of art as both communication and manipulation tool regarding their political discourse. It is striking to find that these situations are taking place at present in democratic countries. This paper proposes a revision on the III Reich aesthetics, referring to some cultural elements that were used to design its own appearance. In order to do this, they deconstructed and denigrated the fragmentary components from the previous avant-garde art, to construct their new totalitarian reality.
- Published
- 2019
49. Giacometti: Idea, Archetype and Existence as Basis of a Humanist Aesthetics
- Author
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Guillermo Aguirre-Martínez
- Subjects
giacometti ,existencialismo ,humanismo ,arquetipo ,escultura s. xx. ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
This paper studies the movement from an essential order to an existential one in Giacometti’s work. The sculptor will try to join these two orders by means of the human figure. This attempt can be understood as a first step of a humanist aesthetics.
- Published
- 2016
- Full Text
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50. Building History and Rehabilitation of Nantes Tobacco Factory
- Author
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María Zapico López
- Subjects
historia constructiva ,patrimonio industrial ,nantes ,fábrica de tabaco ,rehabilitación. ,Fine Arts ,Arts in general ,NX1-820 ,History of the arts ,NX440-632 - Abstract
This paper provides a comprehensive analysis of Nantes tobacco factory building history, located in France. This is one of the most significant buildings in this municipality which exemplifies, through its walls, the architectural evolution of the spaces destined to production, storage and sales of tobacco products, in a context of state monopoly of this product. Moreover, its rehabilitation, in the early 1980s, is an example for the sensitivity with which it was treated by architects, artists and municipal corporation that shaped this project. In their proposals they bore very much in mind not only to preserve the architectural remains of industrialization but also the women and men workers memory that give life it.
- Published
- 2016
- Full Text
- View/download PDF
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