ANIAV - Revista de Investigación en Artes Visuales

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Investigación en y desde las artes visuales. Recoge contenidos de práctica, teoría, crítica y gestión del arte en los diferentes medios y áreas, que aborden los principales puntos de interés del arte contemporáneo.

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¿Dónde está el ‘arte’ en la investigación artística?
(Universitat Politècnica de València, 2017-07-05) Vilar, Gerard
[EN] Frequently, visiting artistic research exhibitions, or seeing 'exhibitions' in the Journal of Artistic Research, one ends up wondering where art is in those projects, since perhaps they could have been done by historians, anthropologists or communicologists and exhibited their results in a history or ethnology museum, or a cultural center whatever, rather than in an artistic center. No doubt, they are usually true research, but where is the art? A satisfactory answer to the problem of where art is in artistic research is to be find in the difference between an informative presentation or display and an authentic device for reflection. Social scientists produce theory, information, and factual knowledge. Artists do not primarily produce factual knowledge, butrather create devices for the generation of knowledge. If this distinction is completely erased, the risk is to have bad science and/or bad art, or even have neither. To build a philosophical argumentation appropriate to the intuition that we have just formulated, it is possible to have recourse to Deleuze's theses about percepts as the kind of ideas that artists create, unlike the scientists who create functions and the philosophers who create concepts.
Paisajes expandidas entre Brasil y España: intervenciones fotográficas introducidas en el espacio público
(Universitat Politècnica de València, 2017-07-05) Santos Almeida Ribeiro, Maristela
[EN] This article proposes a reflection about the methods of creation of the image from two artistic projects: the first one consists of a series of works developed in Feira de Santana and Salvador de Bahía, in the Northeast of Brazil; And the second in anotherseries that took place in the districts of Benimaclet and Cabanyal, based in Valencia, on the Mediterranean coast of Spain, during a Doctoral Stay at the School of Fine Arts of the Polytechnic University of Valencia. These two "places" - in Brazil and Spain - form important pillars so that results can be assumed, inferred and analyzed. The two experiments are essential in the orientation of the work as a whole, with the delimitation of an epistemological corpus and the definition of the procedures adopted in their nature and validity.To develop the research contained in these projects, the methodology adopted sought support in science and the philosophy of creation that, according to Passeron aims at creative realization. The adopted approach focuses on the displacement of the photographic image from the private to the public, introduced in the urban space as artistic interventions, in large formats. The redefinition of space, through the photographic image, is constituted from the semantic load of the displaced images; Takes the architecture as a place, the street as a space for an artistic experience and the city as a poetic field. Therefore, artistic experience suggests different ways of talking about a particular place, its culture, its environment and its history, through images that have deviated from their original contexts.
Inframedia: barreras infraestructurales y ecologías online en la Web 2.0
(Universitat Politècnica de València, 2017-07-05) Sanchez Lopez, Jose
[EN] Collective Intelligence and our notion of glocalposition depend closely on the large existing media available on the Internet (search engines, social media, wikis...). Its digital origin and its dependency on computer science allow them to take different forms with specific relation to software design. That stated, it is important to underscore this situation encompasses our limited knowledge and phenomenological contact with the infrastructure that supports them.This presentation works as a snapshot of an ongoing personal research about networks and visibility, whose main goal is to provide a theoretical context for the future development of a new media artistic project. The whole idea revolves around some topics that focus on the notion of interface being the visible part of an infrastructure complex.The analysis is structured around four main themes: 1. Evaluation of the abstraction layers that techno-material “life” of the networks: architecture, protocols and algorithms are made of. 2. The dual meaning of “collective”, when it comes to online interaction: creation of contents by users and how this oscillate between the commons production and data collection. 3. Attention to the concept coined by James Bridle “New Aesthetics” and how the digital became autonomous in referring reality in its own terms. 4. The impact of this digital context on artistic contemporary strategies, from counter-design to complicity.
Santa María del Circo (Toscana, 1998) y Zócalo (Alÿs, 1999) como espacios de resignificación
(Universitat Politècnica de València, 2017-07-05) Flores Flores, Nallely Natali
[EN] On this paper we develop a comparative approach between two art objects of different nature: first of them is film called Zócalo (Alÿs, 1999); and, second of them, is Santa María del Circo novel (Toscana, 1998). Comparison is possible due to these objecs contain some similar elements. On both of them, we find: these are transit spaces and these are ,also, symbolic registers, although novel is imaginary one and film is real one; irruption of characters on both spaces means perturbing; on both of them, we canuse semiosphere concept because they keep frontiers delimited ; and so on, more motives to comparison. Besides, spaces can be interpretated according with Focault’s concept of heterotopia. Also, these spaces are into other heterotopia: that is to say, Zócalo is into city of Mexico and Zócalo and any city could be read like this kind of nonplace. It is the same to Santa María del Circo, town which is into desert because desert could be a heterotopia too. So, in theory, been treated with a semiotics’ conceptallows to sum an anthropological interpretation. Analyzing with these concepts (semiosphere and heterotopia), allows us to talk about art’s representations of social reality in the nineties of twenty century. It is not just about a written and a visual discourse, it is about how a writer and an artist perceive their reality, how they take it and how they express it out.
Editorial
(Universitat Politècnica de València, 2017-07-05) Revista de Investigación en Artes Visuales, ANIAV
ANIAV. Revista de investigación en artes visuales, surge desde Asociación Nacional de Investigadores en Artes Visuales ANIAV a partir de la experiencia obtenida con la celebración de tres ediciones del Congreso Internacional de investigadores en Artes Visuales.
Grupo Poéticas Digitais: Dialogo y Medio Ambiente
(Universitat Politècnica de València, 2017-07-05) Prado, Gilbertto
[EN] The Poéticas Digitaisgroup was created in 2002 at the Visual Arts Department at Communication and Arts School at University of São Paulo as a multidisciplinary group to promote the development of experimental projects and a reflection on the impact of new technologies in the field of arts. The group is an unfolding of the wAwRwT project started by Gilbertto Prado in 1995 and its participants are artists, researchers and students, with vary in each project. The purpose of this paper is to present some recent projects developed by Gilbertto Prado and the Poéticas Digitais group related to the theme of environment and flow, visible and invisible forces, and how to dialog with the construction of the context, in which the public is part of a large collaborative system related to the environment. The discussed projects are: “Ø25 - Quarto Lago” (Ø25 - Fourth Lake), 2013) and “Caixa dos Horizontes Possíveis” (The Possible Horizons Box) from 2014
(a)topia(s). Una indagación artística sobre malestares deslocalizados y estrategias de invisibilidad
(Universitat Politècnica de València, 2017-07-05) Marín García, Teresa
[EN] (a)topia(s) is proposed as an Art-Based Research. It is a process of inquiry that through the artistic practice tries to reflect on real forms of dislocated discomfort of the current society. We use the concept of atopia as a metaphor of a hypersensitive reaction,which arises as a (social or individual) response to various environmental stimuli that characterize the context of globalization. The atopic is a nonspecific place, changing and difficult to locate, but whose reactions are embodied in concrete and particular situations.(a)topia(s) began in 2006 as a graphic and textual journal that explored diffuse territories between documentary and fiction in a playful, critical and reflective way. Subsequently, the means of visual experimentation are expanded: objectifying the texts, constructing objects and exploring the graphic images and audiovisual narratives. This process of practical experimentation develops in parallel with the research and definition of a glossary of key concepts. Thus, defining the globalizedsociety and whose common trait is its difficult location and invisibility, such as power, capitalism, precariousness, fear, vigilance, censorship, love, desire, freedom, knowledge.(a)topia(s) is thought as a critical experimentation of resistance, positioning itself from the making and assuming doubt, discontinuity and interference as key to the process. The materialization is conceived as part of the reflective process, paying attention to the near, not visible or undervalued, such as everyday objects, weak materials and minimal acts. The experimental process has been methodologically focused on the exploration of the media, the symbolic and narrative possibilities of the montage and the development of visual strategies of invisibilization as disruptive resources of discourse.
Performances mínimas en el espacio urbano y colaboraciones a distancia. Propuestas de “Acciones Desapercibidas” como experiencia entre lo local y lo translocal
(Universitat Politècnica de València, 2017-07-05) Torrecilla Patiño, Elia; Molina Alarcón, Miguel; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] In this communication we show the experience gained from participating in an international project and its implementation at the local level.Starting from research on issues that address the relationship between body, city and technology, we begin to experience in the urban space the practice of a series of minimum performances inscribed in the realm of everyday life.After the discovery of a proposal developed in Holland, we deepen the use of the city as a laboratory and stage where we carry out our Unapproved Actions; So we began a series of collaborations with the organizers of the Unnoticed Art Festival, sometimes using the use of mobile devices. This is the case of Parallel Walks, a series of simultaneous parallel walks in which we wandered following the guidelines we send, from one city to another through instant messaging, creating a tour in a third city resulting from both.In this way, collective artistic practices become more accessible and allow us to experience new possibilities that include distance collaborations, translocation, simultaneity and the possibility of performing actions and moving through a hybrid city.
Visualizando la ciudad glocal. Modelos y paradigmas de una relación creativa entre el dato y su representación en el entorno arquitectónico
(Universitat Politècnica de València, 2017-07-05) Mañas Carbonell, Moisés; Martínez Cuenca, Raquel; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz
[EN] Starting from understanding the city as a desire, as an exchange, as impossible cities, which ItaloCalvino pointed out in his text The Invisible Cities, and of the relation of aesthetization of the data in the contemporary city, through the eyes of Gilles Lipovetsky; This study intends to show a reflection on the relation of the data flow, its aesthetic and functional representations in the new technified architectural spaces that generate a new mediated glocal city. Reflect on the existing devices of mediation between the static of the architecture and the dynamism of the data and how this binomial, its relation, its technification through creative and playful proposals can become a new proposal of amplified urban route for the citizen-user contemporary.
Espacios de memoria virtual como laboratorios de investigación artística
(Universitat Politècnica de València, 2017-07-05) Veciana, Stella
[EN] This paper makes a theoretical reflection on artistic methodologies in the generation of ‘online memory environments’, the influence of cultural codes and values of sustainability in these spaces and exposes in particular two cases of dynamic archives within the context of scientific conferences for sustainability and a public library as examples of two typologies of laboratories of artistic-scientific research: the a/synchronic and the virtual.The classic analogue archive passes from the museum space to databank networks based on dynamic memory to new hybrid environments of mixed realities. How does themodern archive model differentiate as the on-site library of database from databank archive model? How do interactive database systems influence social memory? The ‘online memory environments’ transform the concept of the archive, which served to preservecultural heritage, becoming as well a laboratory of aesthetic-scientific production as in experiments of collective participation in ‘virtual monuments’ that activate processes of social memory.On the basis of this historical transformation and intercultural artistic-scientific methodological approaches, the purpose of this communication is to present the online dynamic memory space as future laboratories of artistic-scientific research.
Ecología global, sensibilidades locales. El rol de las humanidades ambientales frente a la crisis ecosocial contemporánea
(Universitat Politècnica de València, 2017-07-05) Albelda Raga, José; 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] The interdisciplinary research project entitled Environmental humanities. Strategies for ecological empathy and the transition towards sustainable societies investigates the role of ethics, visual arts and literature in the transformation process needed toimplement more eco-compatible cultural models. The ecological and social crisis we face forces us to rethink ourselves as human beings and as a society. Despite the significant techno-scientific advances in the field of energy efficiency and ecosystem restoration, a change in our world view and collective imagination is necessary in order to balance the powerful cultural inertia that characterizes the current paradigm. In this sense, humanities can play a relevant role in forging new values and imagining other forms of social coexistence. This paper analyzes some of the activities presented at the first international seminar carried out at the Polytechnic University of Valencia in November 2016 within the aforementioned research project. Different research methods in the field of humanities are taken into consideration to address the global and local dimension of the transition to sustainability. Firstly, an interdisciplinary approach is proposed for the study of global phenomena such as the energy and climate crisis. Moreover, creative workshops connected to citizen ecological initiatives are implemented to link academic research to local knowledge. Finally, we evaluate the influence and transformative potential of art projects exploring an expanded notionof site specific and adopting collaborative creation processes in dialogue with human communities, biotic and abiotic elements of the ecosystem.
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.

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