ANIAV - Revista de Investigación en Artes Visuales- No 02 (2018)

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Artículos originales de investigación

Estéticas comunitarias y colaborativas y desarrollo a escala humana
Arte contemporáneo y señales visuales de la cotidianidad como paradigma de modelos globales de vida y de pensamiento
ZAWP Bilbao. Posproducción cultural en espacios de creación postindustriales
El canon are-bure-boke: una conexión contemporánea entre fotografía, arquitectura y filosofía; una conexión entre Japón y Francia
RECICLO Y PUNTO: una propuesta artística dinámica con desarrollo múltiple en las aulas y de aplicación efímera en el espacio público
Hacia una metodología del proceso creativo y su validación en el ámbito de investigación académico
Dale, dale, dale. La construcción de imaginarios híbridos y el desplazamiento de elementos locales en la práctica artística
Cargo Culte: La estética del Culto de cargo en el contexto urbano posindustrial de la Ciudad de México
EL TAG COMO CELDA DE VIGILANCIA. Una visión crítica de los metadatos y sistemas de reconocimiento facial a través de las prácticas artísticas
Estrategias culturales frente a la crisis ecosocial. Creación audiovisual y participación local en el proyecto Inner Nature Exhibition
Coherencia entre animación e “imagen real” (registro basado en realismo fotográfico): recursos presentes en el universo gráfico de Gumball
El invisible y la no-materialidad de las cosas de la isla

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Now showing 1 - 13 of 13

Dale, dale, dale. La construcción de imaginarios híbridos y el desplazamiento de elementos locales en la práctica artística
(Universitat Politècnica de València, 2018-02-13) Gónzalez Ibáñez, Edurne
[EN] Immaterial, fragmented and liquid contemporary visual culture is permeated by processes of globalization that are articulated around the mechanisms of production, distribution and the consumerism of images. The apparent fluidity, simultaneity and transparency from which they are built and propagated comes into direct conflict with the material reality of borders that keeps appearing and walls constantly keep restricting free movement, thereby colliding with the model that sells the idea of an increasingly connected and inclusive world. These pieces of evidence and contradictions highlight some features of the contemporary paradigm, where it is pressing to create a space to question the directions in which current hybrid visualities are heading and the immediacy with which they are modified, which -in a constant loop of redefinition- are shaping a constantly moving system that triggers social behavior patterns and dynamics which are difficult to consolidate among individuals. The aim is to analyze the form of construction and permanent mobility of these ‘other’ imaginaries that feed on ‘the particular’ to transgress their sense-filled sphere. We shall start by approaching a specific element; ‘the piñata’, from its notion of belonging to different contexts and time frames in order to delve into its connotations based on insertion and displacement in the work of the artists Diego Nessi, Teresa Serrano and in a personal project developed with a grant for artistic production in the Foundation BilbaoArte throughout 2016. We shall end by responding to the structure of relationships that break out of their traditional boundaries, using artistic practice to question the consequences and repercussions of the ongoing crisis in which we are immersed.
Estrategias culturales frente a la crisis ecosocial. Creación audiovisual y participación local en el proyecto Inner Nature Exhibition
(Universitat Politècnica de València, 2018-02-13) López de Frutos, Estela; Rodríguez Mattalía, Lorena; Sgaramella, Chiara; Dpto. de Escultura; Dpto. de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] INNER NATURE EXHIBITION is a non-profit cultural project that aims to propose a reflection on the eco-social crisis. It is a travelling video art show that interacts with other proposals organized by the different cultural centers that host it at national and international level, generating spaces of encounter, exchange and reflection. In its third edition, the project tries new formulas for relating local contexts to global problems. We urgently need cultural tools to make the ecological crisis visible and to deconstruct the dominant discourses that legitimize an unsustainable system. Issues such as peak-oil or climate change indicate the possibility of an unprecedented eco-social collapse. That is why it is essential to build alternative ways of working in the local contexts to rethink our sense of the common and to simultaneously cooperate with international institutions that can seek answers to shared problems. In this context, we explore the potential of video art as a tool to create awareness, while maintaining a critical viewpoint on the most technophilic discourses that tend to forget that technologies too are dependent on ecosystems. The experience of INNER NATURE EXHIBITION serves as a case study to analyze in practice the main contributions and possible limits of this type of cultural initiatives.
ZAWP Bilbao. Posproducción cultural en espacios de creación postindustriales
(Universitat Politècnica de València, 2018-02-13) Etxebarria Madinabeitia, Izaskun
[EN] First of all, the book Free Culture of State by Jaron Rowan, describing a wide map with the different agents of the cultural system, is analyzed. Workers, partners, consumers or participants in culture and other agents and institutions are focused from three points of view: from culture as resource, as a right or as a common good. To achieve a transformation of the cultural scope, the author proposes that resources be made available to consumers, thus making them into producers. Secondly, this idea contrasts with the analysis of Vílém Flusser, new media specialist. In his book The universe of technical images (although it should be noted that the context is very different), we recall that great part of the culture, today, is created and disseminated through devices that are mediating our messages. His analysis presents a scenario of illusion designed to facilitate consumption, but that only allows one type of surface production, since producers do not know the functioning of the black boxes. Thirdly, we review the concepts of citizenship and public space from Public space as an ideology of Manuel Delgado. In it, the uses of these concepts are reconsidered, raising the need to speak of ‘sphere’ rather than ‘space’ to draw attention to interpersonal relationships and tensions between social groups that inhabit public space. This theoretical corpus frames the interview with Ruth Mayoral, a young sociologist at team ZAWP Bilbao. Currently, this center has funding from the main Basque institutions and emerged from the association La Hacería Arteak, along with the demand of the Association of Zorrozaurre Neighborhood to rehabilitate the neighborhood, which was supported by years of activity by the demand for permanence in the area.
Editorial
(Universitat Politècnica de València, 2018-02-13) Revista de Investigación en Artes Visuales, ANIAV
Los números 1 y 2 de la revista contienen los trabajos evaluados positivamente y seleccionados por un comité científico internacional de entre los presentados al III CONGRESO INTERNACIONAL DE INVESTIGACIÓN EN ARTES VISUALES. ANIAV 2017. GLOCAL [codificar, mediar, transformar, vivir].
El invisible y la no-materialidad de las cosas de la isla
(Universitat Politècnica de València, 2018-02-13) Vieira Terra, Tatiana
[EN] An island located in the central plateau of Brazil turns into a gravitational space of an artistic journey of exploration. Landings and fluctuations alternate during the expedition. Being on the island also means being the focal point of a reversed telescope where the dialogue is constructed from the things that inhabit the near and infinite spaces, the flow of relationship between them and the subject in space. The visual narratives provided by the journey were made from the desires, confrontations and bewilderment which were all experienced during the pauses and communions invoked by the non-materiality of the things that live there. The text narrates the expedition to the island, it brings images produced from the experience that has been lived and invites a reflection on the silent voices of things in space, the invisible vision and the internal resonance of the subject as well.
Hacia una metodología del proceso creativo y su validación en el ámbito de investigación académico
(Universitat Politècnica de València, 2018-02-13) González Castro, Carmen
[EN] This paper examines the possibility of designing a methodology of the creative process. It comes after a wider research that was conducted within the context of the MA on Research on Art and Creation of the Universidad Complutense in Madrid. The hypothesis that we aim to develop is that it is possible to trace a methodology of the artistic creation by comparing several study cases with the reflection of artists on their own creative process. This process is very often bound to the idea of intuition. The commonly assumed awareness of intuition as a concept entwined with the myth of the creative genius is to be questioned here. We will expose the terms that define the idea of research into the academic field. To achieve this, we will begin by using an interview with the artist Soledad Sevilla. Our starting point is the lack of a specific terminology that could define the meaning of researching on art. We will contrast this interview with another one with the biologist Cristina Pujades, a member of the project Grid_Spinoza. Our objective is to show some of the differences and confluences in both types of research, artistic and scientific, to, as far as we are able, clarify the specific processes and terminology of both. Having found similar terms in these two fields, we believe that artistic research is very likely to be validated from an academic point of view. We expect to come to a conclusion about the specificity of the artistic research, in order to find a place for it within the conventions of what is understood as academic context, that is to say, of the research practices in science.
EL TAG COMO CELDA DE VIGILANCIA. Una visión crítica de los metadatos y sistemas de reconocimiento facial a través de las prácticas artísticas
(Universitat Politècnica de València, 2018-02-13) López-Cleries, Gloria; Porras Soriano, Álvaro
[EN] Nowadays, the expansion of social networks has made possible the emergence of a new, decentralized and diffused surveillance model. Web 2.0 and smartphone devices allow the circulation of private information available to users and public-private companies that are part of the new network economy. The daily use of applications with gps locator allows the storage of all kinds of activities and to carrying out the reconstruction of all our actions, desires and affections. In a context of hyper-exposure, of the hyper-connected 24/7 society, it is considered to be as a new model of more diffused surveillance, but maintaining the same effect of the Panopticon. This has an impact on user psychology creating a disciplinary power in the face of uncertainty of being under constant surveillance. The concept of Panopticon's isolation and surveillance cell is reflected today, not only in each personalized account in social networks, but in all the information that is recorded in the Google history associated with a personal email account, Paypal accounts and countless apps that register heart rate, fingerprints, sleep curves and blood sugar. These applications allow the total registration of all physical, biological and affective actions and movements. From Foucault’s perspective, social media is more than a vehicle for the exchange of information, it is a vehicle for the formation of identity and its control.
Cargo Culte: La estética del Culto de cargo en el contexto urbano posindustrial de la Ciudad de México
(Universitat Politècnica de València, 2018-02-13) Hernández Robles, Edgar Carlos
[EN] Over the last 20 years Mexico City has witnessed a remarkable take over of the public space, becoming the ideal venue for the sprout of very unique aesthetic manifestations, which reflect the specific geopolitical conditions the metropolis has experienced throughout these years. Urban non-sites have become home to a diverse set of anonymous assemblages created by bricoleurs —anonymous, collective authors— with discarded objects, junk and other surplus of an economic system once the promise of a modernity which never came, each and every one of them featuring a visual grammar that consists of appropriation, site-specific relevance and accumulation. This project builds a bridge between these assemblages and cargo cults, a phenomenon appeared during World War II in New Guinea: a native myth which eventually triggered the independence movements in the Islands. Using the Situationist strategy of derive to approach these street assemblages as material expressions with an aesthetic and symbolical cargo, and drawing as a dispositif —intended as a transversal, autonomous and heuristic entity—, the urban field-work generated a taxonomy of twenty-two halftone plates in the style of scientific illustration. This thesis contributes to the field of study of drawing as a dispositif, which operates as a lever to articulate ideas, to help grasp the world and collaborate in the development of universal, decolonial and emancipating knowledge as a means to collective identity affirmation.
Coherencia entre animación e “imagen real” (registro basado en realismo fotográfico): recursos presentes en el universo gráfico de Gumball
(Universitat Politècnica de València, 2018-02-13) Rodríguez González, Manuela Elizabeth
[EN] The present article will focus on an example of hybrid animation, The Amazing World of Gumball (2011), which is a television animation series created by Ben Bocquelet (1983). This series came to life when he proposed to Cartoon Network the idea of bringing together in a single production all the characters he had created and which had been rejected by animation studies over the years. Starting from this union of different elements (an explanation that is present in the basic idea, but not in the plot of the series), we will analyze the resources that are used to unite disparate aesthetic characters in a coherent 'graphic universe'. This concept of universe is defined by Raúl García in Actores del Lápiz (2000) as the unit of style (and movement) in which characters and design elements coexist within a television series, governed by rules that must be maintained throughout the creation to make it plausible for the spectator. Taking this concept into account, the analysis of these resources will be completed by the study of productions where the mixture of styles is consistent with the argument, or it is done for aesthetic experimentation. From Blackton's Lightning Sketches (1908) or Gertie, the Good Dinosaur, directed by McCay (1914), going through the animated characters that coexist with humans in Mary Poppins (1964), Who Framed Roger Rabbit? (1988) or Space Jam (1996), to the photographic backgrounds immersed in the experimental animation of The Tatami Galaxy (2010), directed by Masaaki Yuasa.
El canon are-bure-boke: una conexión contemporánea entre fotografía, arquitectura y filosofía; una conexión entre Japón y Francia
(Universitat Politècnica de València, 2018-02-13) García Martínez, Pedro
[EN] In the writings of Japanese architects Kazuyo Sejima and Toyo Ito finding terms used by French poststructuralist authors such as Deleuze and Guattari is relatively common. The text aims to delve into some of the facts that specify this relationship. For this, the research focuses on the figure of Koji Taki and his participation in the magazine Provoke where he helped ideation aesthetic canon "are-bure-boke". In its formulation, this canon shares some ideas with the approach of the mentioned authors. Taki subsequent relationship with Ito and Sejima closes the circle relational raised.
Arte contemporáneo y señales visuales de la cotidianidad como paradigma de modelos globales de vida y de pensamiento
(Universitat Politècnica de València, 2018-02-13) Cova, Massimo
[EN] Our proposal consists of presenting a personal art project and analysing its relationship with works by renowned contemporary artists that adopt a number of spontaneous visual signals present in daily settings as formal and conceptual references. Fleeting and transitory traces produced by people’s behaviours and interactions which can be representative of models of living and thinking in the global era. The proposed works (both the personal pieces and the references) formalise and reconfigure into the language of art a number of footprints and visual indications which do not owe their origin to the artistic terrain. Marks, remains and vestiges related to aspects of the complex consequences of economic and cultural internationalisation and the creep of new technologies and models of behaviour as a cornerstone of individual and collective identities. Our project comprises a series of works of various formats and techniques that build on our experience in relation to these daily signs and are inspired by artistic references of recognised standing and international legitimacy. The project began in 2009 with the series entitled “Alter Ludus” - From Teaching Experience to Artistic Experimentation, a reflection on the spontaneous visual manifestations of adolescents in the school environment which form a paradigm of behaviours and dynamics of the adult world. Other series were to follow, such as Live: Pictorial Traces of Information, where we took a critical look at the limits of electronic information through the importance of pictorial complexity, and Don't Touch!, a reflection on norms and conventions, inhibitions and taboos, through to the latest productions centring on trends in contemporary thought regarding science, technology and the controversial relationship between culture and history.
RECICLO Y PUNTO: una propuesta artística dinámica con desarrollo múltiple en las aulas y de aplicación efímera en el espacio público
(Universitat Politècnica de València, 2018-02-13) Garriga Inarejos, Rocío; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] It is a challenge to introduce students of the first year of the Fine Arts Degree (Teruel Campus - University of Zaragoza) into contemporary artistic dynamics, as is the preparation of those who are in the third and fourth year of the professional world. RECYCLE AND POINT is a teaching activity that relates to the first, third and fourth year students in order to develop the aforementioned competences. This artistic proposal ends up appearing in the public space, providing the students with a real experience, outside the context of the classrooms, in direct relation with the citizens. Participants: the students of the subjects of Volume I (first course) and Design and Management of the Exhibition Space (third and fourth year). Objective in its real application towards the citizenship: to stimulate the recycling. First-year students will reproduce in plaster plastic bottles, soda cans and glass jars of various sizes. They will then work their surface and include the phrase RECYCLE AND POINT in them. On the other hand, the third and fourth year students will be in charge of curating, managing and coordinating the start up of the activity. The pieces will be exposed in the Plaza del Torico and people approaching the place can take one of them giving two recyclable objects. The instruments that are applied are: proposal of the exercise, continuous observation and follow-up of the preparatory practices during lectures and specific tutorials, real application, feedback, critical reflection and sharing of the results obtained and of the lived experiences. This initiative is carried out for the first time in the academic year 2016-17: I will explain the project design, some of the results and a critical review of them.
Estéticas comunitarias y colaborativas y desarrollo a escala humana
(Universitat Politècnica de València, 2018-02-13) Corzo Morales, Maricely
[EN] Plastic and visual artists' activity, as well as any human activity, is immersed in a particular development model of society, which implies that from the point of view of university education it is necessary to foster the ability to reflect on the different ways in which our professional practice will be embedded in the social, economic and cultural life, favoring an specific model of development. It is true that in the last decades the continuous expansion of artistic practices towards new spaces of exchange and new ways of doing has revealed a greater concern about the sense of place, the intervention / site contexts and therefore about the Local. However, considering globalization implications, we propose an approach to development theories, so that any artistic practice, especially those ones seeking to interact in social contexts, critically question themselves about the role, incidence and responsibility they have in supporting, redefining or building a model of life within their society. Throughout our doctoral research, in which we have discussed as diverse areas as community and collaborative aesthetics and co-development, we have identified potential interdisciplinary contact areas between the Human Scale Development (HSD) theory (proposed by the Chilean economist Manfred Max-Neef) and transversal aspects, namely, contextual, relational and representational aspects that entangle the relation between contemporary artistic practices and their actors. This text will explain in detail the foundations of HSD to bring out a series of questions and reflections on the ways in which artistic practices affect micro and macro levels in their respective intervention scenarios.

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