ANIAV - Revista de Investigación en Artes Visuales- No 05 (2019)

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Artículos originales de investigación

Dos vínculos poco explorados de la performance en Norteamérica
Circuito Alameda: Algunos apuntes sobre las obras Jardín Alameda, Encontros, Caja de Choque y Serigrafías
Sonoqualia 2.0: imágenes mentales e imaginación sonora
Imágenes en fuga*. Entropía, incertidumbre y gravitación en el análisis estético de la producción de sentido visual (Reflexiones sobre un texto de Robert Smithson).
El medialab: ¿un espacio propicio para el arte?
La identidad falsa como estrategia de (in)visibilidad de las mujeres pioneras de la performance (México/España, 1926-36)
Ecofeminismos en la práctica artística. El cuerpo como símbolo y territorio de acción
‘Memorias de un periodista musical’ (una novela gráfica)
Relaciones entre prácticas artísticas, espacio social, visibilidad y gestión de la complejidad

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Imágenes en fuga*. Entropía, incertidumbre y gravitación en el análisis estético de la producción de sentido visual (Reflexiones sobre un texto de Robert Smithson)
(Universitat Politècnica de València, 2019-09-30) Maldonado Gómez, José
[EN] In Artforum art magazine (June 1966) Robert Smithson (New Jersey, 1938) writes a disturbing and radical essay entitled Entropy and the new monuments. The essay analyzes the work of a series of artists and the conceptions involved in the production of the creators cited therein; also, of how such productions are inscribed in a certain space-time context. Smithson develops a series of concepts, which have been treated by him and by other authors and artists, in an intense and interesting way in conceptual, poetic and plastic terms, but at the same time with a scientific rigor calibrated in an exotic, strange way. and diffuse, but very suggestive and inspiring. Among the concepts used is entropy, which is both simple and enigmatic, but also complex and essential. The concept of entropy is relevant in semiotic terms to understand the inevitable interactions between different fields of knowledge and the structuring of both language and communicative action and its derivation. In this article, we analyze some of the concepts and definitions used by Smithson and other authors, artists or not, and the relevance they have for working with images, the production of meaning through them, and the constant retro-adjustment (retroreading, etc.) that we must apply to avoid, or at least slow down, the disappearance (degree of visibility) or leakage of the images constituted or conformed, independently of their nature. That is to say, an attempt is made to investigate the trend, through the generation and translation of mathematical physical matemas, among other tools, of the alleged images to the fugue both of their potential linguistic and plastic sense, visually (their disappearance, distancing or equilibrium), and the factors that make images and their production, emission and reception, independent and liberated knowledge objects with a high metaphorical potential, and therefore, linked with concepts and dynamics such as entropy, uncertainty and gravitation.
El medialab: ¿un espacio propicio para el arte?
(Universitat Politècnica de València, 2019-09-30) Ruiz Martín, José Manuel; Portilla Karolis, César Augusto
[EN] This paper focuses on the study of the medialab, departing from the analysis of the transformations suffered by it during its historical development, and the main characteristics it has in a global level. This study examined twenty-two international centers through on-site visits, interviews, search of information in their archives and media libraries, and through analysis of the most relevant publications and projects. The analysis is divided into stages: from the appearance of the first pioneering centers in the 1960s (1960-1980), their proliferation at the end of the last century (1980-2000), to the current medialab (2000-2018). It is assumed that the medialab, located in the convergence between art, science and technology, and as a successor of the artist's workshop, becomes a radically transformed space that incorporates practices of sociology, social sciences, communication, economy and business. Thus, the artistic practices are significantly reduced in the medialab context, the same as the projects leading by artists during the last decades.
Dos vínculos poco explorados de la performance en Norteamérica
(Universitat Politècnica de València, 2019-09-30) Bernal Rivas, Gonzalo Enrique
[EN] Is there a performance art pedagogy? Are there many? Can performance art be taught? How? These kind of questions are the ones that this text expects to trigger in the reader from a review, that doesn’t pretend to be exhaustive, of texts with perspectives that are hardly coincidental such as those proposed on one side, by Eloy Tarcisio in Dulce María de Alvarado’s Performance en México (2015): 28 testimonios 1995 – 2000 and by La Pocha Nostra in Exercises for Rebel Artists: Radical Performance Pedagogy (2011); and on the other side, by James Elkins in Why Art Cannot Be Taught: A Handbook for Art Students (2001). Other questions that may arise are Is performance art only a learning objective? Or can it also be a tool to achieve other pedagogical purpose? It’s expected to awaken these questions from a short review of W.J.T. Mitchell’s Showing seeing: a critique of visual culture (2002) in which, even if the idea of a “performance art pedagogy” is not refuted, performance itself is proposed as a pedagogic tool to learn, particularly, about visual studies. Finally, why is it important to relate performance art and experience? What kind of experience does a spectator have during a performance art piece? Why is representation a key concept to performance art, understood from phenomenology? Centered on Lester Embree’s Reflective analysis (2003), the taxonomy of experience proposed by this author is presented, which might be the key to explain, from other scope, a phenological one, a feature of this artistic discipline which has been highlighted by Bartolomé Ferrando’s El arte de la performance, Elementos de creación: la presencia del cuerpo (2009).
Relaciones entre prácticas artísticas, espacio social, visibilidad y gestión de la complejidad
(Universitat Politècnica de València, 2019-09-30) Parramon Arimany, Ramon
[EN] Artistic practices characterised by a tendency to dematerialisation, collective creation and a conception of work-as-process, lose presence and visibility in a context marked by hypervisibility and immediacy. Given the need to make social complexity intelligible, art, within a context of overexposure, may represent a form of action which helps in visualising and in influencing aspects of reality. But if art does not manage to regenerate and diversify its mechanisms of production, it might find itself excluded from this socialising task. Artistic production, understood from a systemic perspective, may confront the management of complexity as an essence, while connecting to other areas, disciplines or ways of seeing/understanding the world which share the goal of deciphering and investigating in order to trace out possible futures, and to contribute to processes of collective emancipation. This article raises the need to redefine the contemporary art functions in relation to the social contexts in which it is articulated. Taking as reference the "productivism" avant-garde of the 20s and the theories of "systemic art" at the end of the 60s, they are related to some contemporary artistic production; those that activates experiences, make connections with specific social spaces and works from the management of complexity.
Ecofeminismos en la práctica artística. El cuerpo como símbolo y territorio de acción
(Universitat Politècnica de València, 2019-09-30) Soto Sánchez, Pilar
[EN] This article exposes ecofeminism as a necessary current for the transformation of sustainable societies. An active model that unites artistic practices becomes a tool capable of visualizing the roots of the socio-environmental crisis and providing the keys to awareness. Briefly shows how the characteristics of the companies are shown based on the principles of ecofeminism, the body is used as a symbol, as a territory to exploreb and as a common material with the visibility and denounce the imbalance panorama. It uses the body as an instrument with which to redefine the discourses of power and claim their identity, autonomy and freedom. From their artistic practice they try to revert on the imaginary and the conscience and, at the same time, on the alternatives of action for the transformation. The artists presented in this article, from critical,poetic and political thought, to the direct attack on the collective imagination. From the art it makes us reflect on the past, the present and the future of the relationship between humanity and nature in terms of respect, feminism
La identidad falsa como estrategia de (in)visibilidad de las mujeres pioneras de la performance (México/España, 1926-36)
(Universitat Politècnica de València, 2019-09-30) Mindek, Dubravka; Molina-Alarcón, Miguel
[EN] This work considers the double paradoxical character of visibility and invisibility, as well as true and false identities, that many women in early twentieth century Spain and Mexico, resorted to in order to simultaneously hide their own and represent others. Thus, false gender and other identities revealed a contradictory social reality. As a research question, we will explore their actions as possible precursory expressions of performance, an artistic practice that would appear many years later. We find a connection to these women’s performing in the creative use they made of their own bodies (without doing so intentionally). They carried out a kind of covert participant observation, in anthropological terms, that allowed them to pass unnoticed at the same time as making visible diverse social and gender problems and identities. The women whose cases will be analyzed are the Mexican Concepción Jurado who, between 1926-1931, passed herself off as a Spanish millionaire; and Spanish journalists Magda Donato, Josefina Carabias and Luisa Carnés, who between 1932 and 1936, using false identities, infiltrated mental health institutions, prisons, hotels, hairdressers and even took on the role of women seeking jobs. This allowed them to bring to light the invisibility of the areas they infiltrated, denounce their social and labor conditions and point out the constructions of gender inequalities surrounding them. there is certainly art in their actions, why not?
‘Memorias de un periodista musical’ (una novela gráfica)
(Universitat Politècnica de València, 2019-09-30) Pérez García, Juan Carlos
[EN] Memories of a music journalist is a graphic novel that I am making with Santi Carrillo, music journalist and director of Spanish magazine Rockdelux. A memoir tends to the abstract evocation of memories, sensations and emotions —that is why Carrillo’s literary text has raised a series of formal challenges in order to transform his text into a narrative in images, particulary in some essay chapters and in his memories about his childhood or the early death of his father. Still in the making, the work is structured in chapters associated with songs that are part of his biography and memory. For the most part of its history, the traditional comics have been a form / medium focused on external action: the slapstick, since its beginnings as a mass medium at the end of the XIX century, and the adventure fiction (exotic adventures, science fiction, superheroes, etc.) have nurtured most of the comics of the twentieth century. Only in recent decades an artistic comic for adults, the so-called graphic novel, has addressed other issues: memory, history, biography, essays—in short, reality. These new topics require the development of new formal tools to represent the inner world of ideas, feelings and sensations. In Memories of a music journalist I am using some allegorical designs, visual metaphors and the combination of different kind of representational languages (i.e., contrasts between drawing and photography) and styles (from caricature to realism).
Editorial
(Universitat Politècnica de València, 2019-09-30) Pérez García, Elías; Martínez Arroyo, Emilio José; Silva dos Santos, Fabiane C.; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz
[EN] Para este número 5 de la revista de investigación en artes visuales ANIAV, hemos seleccionado diez trabajos de indudable calidad e interés. Estos trabajos fueron recomendados por los revisores de entre los casi doscientos trabajos sometidos al sistema de doble ciego para el IV Congreso Internacional de Investigación en Artes Visuales ANIAV 2019. IMAGEN [N] VISIBLE. Se invitó a los autores seleccionados a revisar sus trabajos adecuándolas a las normas de la revista y a presentarlos en la plataforma para una nueva revisión por pares ciegos. De estos trabajos seleccionados se publicó solo un resumen en las actas del congreso y es en exclusivamente en este número 5, donde figuran corregidos y completos.
Circuito Alameda: Algunos apuntes sobre las obras Jardín Alameda, Encontros, Caja de Choque y Serigrafías
(Universitat Politècnica de València, 2019-09-30) Prado, Gilbertto
[EN] The personal exhibition of Gilbertto Prado and Grupo Poéticas Digitais was held at the Alameda Art Laboratory, LAA, in Mexico City in June / August 2018. The "Alameda Circuit" exhibition combined a series of site specific works created for the LAA , in the old convent of San Diego (XVI Century) in dialogue with personal works of the artist and the Group arranged in 5 different rooms. The idea, and its conceptual party, was to establish various circuits with / between space and visitors in their relationship with works. The various historical processes, including local customs, invasion, colonization and evangelization, cultural clashes and their ties to the urban environment, particularly the neighboring Paseo Alameda, combined with the story of an artistic trajectory of several decades, were put on the scene. The exhibition was curated by Jorge La Ferla. This text will deal with some notes on the Alameda Garden, Encontros (Meetings), and Shock Box works.
Sonoqualia 2.0: imágenes mentales e imaginación sonora
(Universitat Politècnica de València, 2019-09-30) García González, Concha
[EN] The purpose of this communication is to narrate the motivations, methodology, development and conclusions of the second version of the Sonoqualia project, whose main objective is the creation by people with visual impairment, of sound artistic experiences linked to pictorial works housed in museums of the city of Madrid. The name (Sono-qualia) refers to the subjective qualities of the sounds we feel and perceive each one of us, so its intention is far from objective criteria translators of visual material in sound material. Pictorial works are the frames of reference from which the spaces and sound experiences are created. The audio-descriptions offered by museums, understood as descriptive narratives of the elements put in relation in the pictures, are the starting point of the project, conceived as a 5-week workshop in which the participants work in groups, assisted by technicians who facilitate them the access to sound-composition software. Sonoqualia focuses on the construction, enrichment and communication of the mental images of the participants, generated from these descriptive narratives, understood as internal representations shaped from our multimodal experiences, in which all the senses intervene. Various elements are used for this purpose, such as symbolic values and emotional meanings of the sounds daily used in our interpersonal and environmental relationships; the sound imagination, which has the capacity of development, sophistication and complexity; previous sound experiences or "sonorous culture", variable in each participant, but enriched when shared and put together; sound material chosen simply by "as it sounds", i.e. by aesthetic criteria... The result is the creation of sound pieces with a duration around 2 minutes. This project has been the beneficiary of an aid for the artistic creation of the city Council of Madrid 2017 and so far, two editions of it have been made.

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