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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90 movimientos sobre Technogym G6508D: el gimnasio como espacio para la práctica artística
(Universitat Politècnica de València, 2018-09-25) Bonfim, Carolina
[EN] The visual essay presented here is part of a study of ethnographic inspiration that took place in a gym. I spent 90 days running on that treadmill, and from an active observation, I studied the bodies running before my eyes. My aim in this study was to focus on the action of "running" and take it to the extreme: to break it down, file it, incorporate it, to show what is unique and characteristic in each way of moving.
(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.
Adversidad y resiliencia como recurso en la creación artística de Rossana Zaera y Teresa Cebrián
(Universitat Politècnica de València, 2020-09-23) Gil Gil, Cristian; Barón Linares, Vicente; Soto Navalón, Natividad Abaroa de; Cháfer Bixquert, Teresa; Dpto. de Escultura; Facultad de Bellas Artes; Laboratorio de Creación Artística y Pensamiento
[ES] La adversidad como infortunio ha formado parte de la inevitable existencia del ser humano, quien experimentándola en la propia piel ha tomado consciencia del mundo que le rodea. Estas experiencias han formado parte de la metamorfosis corporal y han servido de aprendizaje. Una información de carácter individual que puesta en común ha ayudado en la creación de conocimiento. Experiencias adversas como el dolor, la muerte, la enfermedad, el sufrimiento y su impacto en el tiempo, han sido motivo de reflexión y motor de creación para artistas como Rossana Zaera y Teresa Cebrián –sobre las que centraremos el artículo- o artistas como Natividad Navalón, Francisca Lita o Ángeles Marco. Artistas que, tratando en su obra temas de carácter transcultural para el individuo, han canalizado su propia vivencia de la realidad que las rodea. Su reflexión e investigación han permitido indagar en la oscura realidad que atormenta al ser humano, sus inquietudes y su amplia posibilidad de representación artística.
Alicia en el país cinético del GIF: Lenguaje artístico-narrativo en el Siglo XXI
(Universitat Politècnica de València, 2020-09-23) Vergara Sánchez, Encarnación
[ES] En la última década del siglo XX la creación de herramientas digitales ha generado un creciente interés dentro del campo artístico. La asimilación de tales instrumentos ha supuesto una enorme contribución en torno a las posibilidades creativas del arte que, con su consiguiente distribución e intercambio de datos a través de redes digitales, ha entrañado una prospera y extensa red de interacción artística que continúa transformándose día tras día potenciando la narrativa visual.Utilizando un movimiento artístico como el arte cinético, en esta investigación se ha propuesto la unión de las características visuales empleadas del movimiento artístico de 1960 y sus efectos ópticos con el uso de las nuevas tecnologías para la potenciación de la imagen y su narrativa en un formato digital común como es el denominado GIF.
Análisis de obras de arte basado en tres aspectos del producto de diseño
(Universitat Politècnica de València, 2024-03-25) Sogabe, Milton Terumitsu
[EN] This article presents the analysis of a trilogy of artworks, Sopro, Toque, and Gesto, developed by the cAt (Science/Art/Technology) research group, based on design theories, particularly focusing on the contributions of Bernd Löbach. Löbach proposes three fundamental functions in the design product: aesthetic, practical, and symbolic. These functions correlate with the three design levels outlined by Donald Norman visceral, behavioral, and reflective and align with the universal categories of semiotics proposed by Charles Sanders Peirce, encompassing firstness, secondness, and thirdness. The analysis based on these three separate aspects does not exclude reflection on their interrelationships. Given the nature of these works, which require a technological system for interaction with the public, it is necessary to conceive a project aimed at the efficient functioning of these objects, similar to other design artifacts. This includes considerations beyond the aesthetic and symbolic aspects, which are predominant and fundamental in a work of art.
Anarchivo y producción contrahegemónica del relato. El paisaje cultural de l’Horta como caso de estudio
(Universitat Politècnica de València, 2021-03-31) Tomás Marquina, Daniel
[EN] The landscape is something intrinsic to the formation of any cultural worldview. In this study we will focus on the region of Horta (València) to talk about how the cultural records of what we could define as a unique cultural landscape in Europe are configured. In this place, we also articulate discourses that define eco‐knowledge and life stories narrated by the people who live there. Within this framework, we will analyse a project that registers and archives these customs; built as a counterpoint, by the mouths of all its own protagonists. If an archive is built from a sphere of power, this anarchive aims to articulate new narratives from the possibility of building horizontal and organic stories. Also as memory capsules, fragments of lives that intertwine in an emotional catharsis. These actions can build resistance, and a type of social aesthetic mediated by art. The way to order past memories that help us to build the future in a time of collapse, linked to a global ecological and socioeconomic crisis.
El antagonismo obediencia/resistencia en las prácticas artístico políticas: la estrategia de la sugerencia
(Universitat Politècnica de València, 2020-09-23) Tortosa Ibañez, Laura
[ES] Con el siguiente texto pretendemos analizar, dentro del extenso campo de las prácticas artístico políticas de las últimas décadas, los lenguajes y procesos artísticos que ofrecen una imagen crítica de la sociedad. La elección de los artistas a enfrentarse al antagonismo obediencia/resistencia reside en visualizar públicamente los flujos de resistencia en la sociedad. Este estudio pretende analizar dos enfoques diferentes, hacia el uso que los artistas hacen de las estrategias de la resistencia. Nos proponemos evidenciar estas estrategias a través del análisis de obras de diferentes artistas contemporáneos. El primer enfoque que vamos a desarrollar, se centra en el uso de estrategias más directas, es decir cercanas a prácticas activistas. El segundo enfoque, centra su atención en obras que se aproximan a estrategias de lo sensible, lo sugerido e inherente. Una comparación de estrategias que verán su eficacia hacia la recepción de los públicos.
Aparentemente inamovibles e incorruptibles
(Universitat Politècnica de València, 2023-03-31) Pastor Andrés, Gema; Guerra, Antonio
[EN] This essay proposes a dialogue between a text in the form of a classical Greek tragedy written by Gema Pastor Andrés and a series of photographs that are part of the photobook La luz que nos ciega by Antonio Guerra. Both proposals speak of creation, death, perception, sensation, representation, technology and art... in substance and form, but, above all, of the weight of the place that inspired them, contemporary Castile, depopulated and deserted by fire, ice, intensive cultivation and the density of its culture.
Aproximaciones estéticas en los medios sociales: Realidad aumentada, arte y snapchat
(Universitat Politècnica de València, 2019-03-26) Urdaneta García, Daniela de Jesús
[EN] The present investigation intends to generate through a documentary and phenomenological analysis an aesthetic approach that helps to understand the artistic practices developed in Augmented Reality in the public space, specifically in Snapchat's Art Around You project. Through the review of experiences by social actors and the positions of experts, the different aesthetic categories will be compared with the purpose of obtaining the necessary findings for the construction of the approach.
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.
El arte en Chile y la crisis climática en artes mediales
(Universitat Politècnica de València, 2023-09-29) Bernaschina, Diego
[EN] This essay focuses on the study of representation of climate change in video art and sound art. The research aims to explore the interaction between ecology, technology, and creativity in relation to video installation art and its social and artistic impact on the ecological crisis. The main goal is to analyze the relationship between these three aspects through a deep analysis of media arts, specifically video art, sound art, and video installation, and how they reflect recurring themes in contemporary art. The vision of the core concepts of the use of installation in the moving image and video installation for creating a study of vibratory geography for sound art and experimental video. In the discussion, it is argued that video art and video installations are forms of art that strongly evoke the ongoing crisis and provide valuable visual analysis for understanding contemporary environmental issues. In conclusion, environmental art is a way to raise awareness about the climate crisis and the importance of adopting a sustainable approach to economic and social development.
Arte nacido durante la pandemia de COVID-19: Una reflexión con perspectiva histórica desde la globalización actual
(Universitat Politècnica de València, 2021-09-29) Song, Yuying
[EN] This article aims to explore and analyze the influence of the social crisis caused by the emergence of COVID‐19 in the current artistic context, as the common denominator that will drive our research towards the analysis of various works of art throughout history. Pandemics and health crises changed and directly affected the issues raised in the works of art. However, how could contemporary work be different in the COVID‐19 era, if we compare it with other works of art from the past? What impact did previous pandemics have on Art?During the Renaissance and the Baroque, many stories were born wrapped in the shadow of the plague, which influenced many pictorial works. The prevalence of COVID‐19 has had a great impact on the development of the Art industry. Online exhibitions and distance art education courses have multiplied. We will reflect on the appearance of numerous exhibitions, and even a virtual museum exclusively focused on the subject of COVID‐19. On the one hand, we analyze numerous examples of artistic works and actions by emerging creators and others widely recognized, such as the artist Pieter Bruegel the Elder, Pieter Claesz, Eduard Munch etc.Through these works of art related to the theme of disease, we not only reflect on current disasters, but also on the disasters that struck our historical ancestors in ancient times. The art of the plague period was a spiritual antibiotic for the real world, helping to understand it, a kind of psychological comfort, a fight against the virus with strength and hope, facing challenges and building a sense of community in the destiny of the human beings, something that is happening again in the current pandemic that we have to live through.
El arte poscontemporáneo linda al este con la flat-screen y al oeste con la Flat Ontology
(Universitat Politècnica de València, 2019-03-26) Casares, Nilo
[EN] This onto-aesthtetics article investigates the new categorial relationship that emerges with the advent of post-contemporary art, showing that contemporary art has been overtaken due to the death of the ironic category, around which all contemporary art revolved. Whereas, in the history of humanity the Modern age begins with the circumvallation of the Earth and the Contemporary age end swith Duchamp's Fountine, the post-contemporary one can be fixed around 2004, with the appearance of Web 2.0 and the flat screens of our smartphones, that bring us back to a flat Earth, like those screens that rule us. With the support of the History of Philosophy, from the Archaic to the Contemporary of the Flat Ontology, the new post-contemporary categorical axis is defined and to be characterised as beautiful not corny, or kitsch.
Arte público activista. Estrategias participativas y transmedia en el proyecto feminista #PortalDeIgualdad dirigido a la transformación de los museos y centros de arte
(Universitat Politècnica de València, 2021-03-31) Zacares Pamblanco, Amparo; Monleón Pradas, Manuel; Dpto. de Termodinámica Aplicada; Centro de Biomateriales e Ingeniería Tisular; Escuela Técnica Superior de Ingeniería Industrial
[ES] El presente escrito se centra en el proyecto de arte público activista #PortalDeIgualdad, dirigido a la transformación de los museos y centros de arte, y que ha sido presentado en el contexto de Instituto Valenciano de Arte Moderno en septiembre de 2020.Se trata de un proyecto participativo con enfoque de género iniciado por la artista y comisaria feminista Mau Monleón Pradas, que incluye la participación social a través de estrategias transmedia. El objeto de la investigación es trazar las metodologías de la Campaña por la igualdad entre mujeres y hombres en los museos y en la educación del proyecto, destacando sus referentes así como los distintos actos llevados a cabo hasta el momento presente. Más concretamente, el artículo trata de revelar las premisas y los mecanismos de transformación que suscita este proyecto activista, que propone un modelo efectivo para la superación de la discriminación de las mujeres en la esfera de la cultura mediante la inclusión de un Portal de Igualdad en las webs de los museos y centros de arte.Al hilo de este recorrido del proyecto que está siendo desarrollado y que ha dado lugar a la formación de la Colectiva Portal de Igualdad, se estructuran las distintas acciones de esta Colectiva internacional, cuyos resultados se centran en el apoyo y la firma del “Manifiesto Portal de Igualdad”, que reclama la igualdad representativa entre mujeres y hombres en ámbito de la cultura visual. Estos resultados se basan en las cuatro principales acciones llevadas a cabo por la Colectiva desde octubre de 2020 cada día 29 del mes, entre las que se cuentan la presentación del Manifiesto; la presentación del Museo internacional WAM Women Artist Museum; la publicación periódica en la revista Los Ojos de Hipatia, y la creación del GIF de la Colectiva. En definitiva, la discusión que suscita el escrito se centra en la capacidad colectiva de transformación social, a partir de un proyecto artístico de carácter activista que amplía su función estética a favor de una función ética para el cambio social en el sistema del arte.
Bomba de miel en el lugar de trabajo, plástica social en el museo de arte
(Universitat Politècnica de València, 2023-03-31) Gutiérrez Galindo, Blanca
[ES] Uno de los proyectos más significativos del artista alemán Joseph Beuys ((1921-1986) es Bomba de Miel en el lugar de trabajo, realizado en 1977 en conjunto con los miembros de la Universidad Internacional Libre, una iniciativa ciudadana creada por el artista como foro internacional permanente abierto a la discusión de los problemas sociales. El objetivo de este texto es analizar ese proyecto en el marco de las ideas de arte ampliado y plástica social que animaron la actividad artística de Beuys a partir de los años setenta. Mostraré su importancia como parte de una redefinición neovanguardista del arte en el contexto de una Alemania Occidental dividida por la Guerra Fría y en plena efervescencia ciudadana.
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.
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.
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.
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.
Computer art: software art design
(Universitat Politècnica de València, 2021-03-31) Venturelli, Suzete
[EN] The article presents artistic works developed at the Computational Art Research Laboratory Media Lab / UnB, carried out as a team, under my coordination. The artistic and theoretical production sought to defend the idea that computational art is a new form of appreciated art, based on the assumption that it contains many of the components of a complete philosophy of an art form, which can be summarized in four basic references: one definition, an ontology, aesthetic characteristics, and the recognition of its status as art. What is currently called computational art is based on the observation that experiments in this domain involve more general common issues, in statu nascendi, to the artistic and technoscientific domains, which provide the structuring modes, the methodology and the programming techniques, introduced in the process. Computational art does not always use the computer, sometimes it is based on logical-mathematical operations only. However, computers had a profound impact on the arts, and in order to carry out a partial synthesis, based on a global theory of aesthetics today, a set of artistic works was selected that encompass the following subjects: the computer as an amplifier complexity (computational methods of creation); computational language; the developer artist; computational art as art of the crowd and not of the individual; laboratory work; software art (presentation and analysis of historical algorithms such as permutation, random, etc.); the appreciation of the human-computer interface (highlighting the importance of the game), which enabled greater public interactivity with the artistic work; the appropriation of the media for artistic purposes; the artistic engagement with social and ecological issues originated by technoscientific advances and the society's computerization policy and propositions related to the future, formulated philosophically in the post-biological era. We sought to develop poetics that resulted from the collaboration between living beings and machines.

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