ANIAV - Revista de Investigación en Artes Visuales- No 09 (2021)
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Editorial
- Editorial nº 9
Artículos originales de investigación
- Arte nacido durante la pandemia de COVID-19: Una reflexión con perspectiva histórica desde la globalización actual
- El resurgir de la belleza en la era posdigital. Contexto, relevancia y actualización del término desde la estética contemporánea
- El cuerpo como propuesta de análisis fílmico en dos documentales chilenos de post-dictadura de segunda generación
- Visualidades confinadas: ¿foco en el yo en el espacio digital tras la crisis del covid19?
- Laberintos de espejos y caleidoscopios habitables: paralelismos catóptricos entre la arquitectura temporal y las instalaciones
- De las percepciones sonoras a las representaciones sensoriales urbanas: Proceso de creación colectiva en Tunja, Colombia
- Prácticas de creación y acción colectiva: el caso de las editoriales cartoneras
- Joseph Beuys, modernidad, vanguardia y posmodernidad
- Islam, poética y subversión en Kazajistán. El vídeo musical de Maslo Chernogo Tmina
Ensayos visuales
- Montones de Basura
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- PublicationArte 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.
- PublicationEl cuerpo como propuesta de análisis fílmico en dos documentales chilenos de post-dictadura de segunda generación(Universitat Politècnica de València, 2021-09-29) Henríquez Ortiz, Valentina[EN] One of the modes of the self in autobiographical documentaries, proposes the participation of the filmmaker as the main character, and with it, the representation of his or her body on stage. This is the case of documentaries such as El pacto de Adriana (2017) by Lisette Orozco and El edificio de los chilenos (2010) by Macarena Aguiló. Both belong to a second generation of directors who from a first‐person enunciation tell stories that oscillate between the intimate family space and the political and social context of Chile's dictatorial past. In this oscillation, the director´s body moves between public and private spaces and between individual and collective memories. The cinematic memory, conceived as a quality of the film to perform the relationship with the past, in these cases becomes visible through the bodies of the directors and their respective staging. Thus, it is possible to observe different relationships between past and present, and different ways of evoking or confronting the past.
- PublicationDe las percepciones sonoras a las representaciones sensoriales urbanas: Proceso de creación colectiva en Tunja, Colombia(Universitat Politècnica de València, 2021-09-29) Rodríguez-Rodríguez, Carlos Mario; Foseca-Barrera, Andrea Carolina[EN] This paper aimed to identify notions associated with the imaginary of sound in the city of Tunja ‐ Colombia. The methodology developed was structured as an experimental proposal, in which the possibility of carrying out a reading of urban imaginaries was considered from the use of methods and instruments from creative research.The collection of information opted for the development of an artistic process that linked thirty‐three artists from the city. With this community, an exercise of plastic intervention was developed to a sound object, which conceptualized memory, experience and sensation of inhabiting the city of Tunja. The activity was completed with the development of an exhibition open to the community in general, in a setting that fostered dialogue and exchange between exhibitors and attendees.The artistic experience made it possible to compile information based on the perception of the artists and establish collective imaginations and ideas from the meeting points that were established in the collective work. The results, were configured as narratives and characterizations of the memory and identity of the territory, coming from the interaction and experience of the citizen with the inhabited place.
- PublicationEditorial nº 9(Universitat Politècnica de València, 2021-09-29) Pérez García, Elías Miguel; Martínez Arroyo, Emilio José; Silva Dos Santos, Fabiane Cristina; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI; Grupo de Laboratorio de Luz[ES] Editoral nº 9 revista ANIAV - septiembre 2021
- PublicationIslam, poética y subversión en Kazajistán. El vídeo musical de Maslo Chernogo Tmina(Universitat Politècnica de València, 2021-09-29) Pascual Galbis, Pau[EN] Maslo Chernogo Tmina's music videos, such as Kensshi (Miner, 2019), Steppe (2020), Unknown world (2020) directed by Aisultan Seitov, express the sociocultural problems in present‐day Kazakhstan, through a language Islamic, identity and visionary. Dense emotional, pathetic and political narratives; therefore, belonging to the cinematographic ecstasy promoted by Sergei Eisenstein; that is, ‐the act of getting out of oneself‐, and in which the viewer overflows before the confrontation of emotionalcognitive images, provoking a psychic reaction in an epistemic way. For the rest, the secluded, sordid spaces and present mystical actions are similar to sacred rituals, which stand out as conceptual parts of his works, and in which desolate urban scenes and desert landscapes predominate. In relation to the lyrics, it should be noted that it isbasically depressing, with the intention of ecological and social denunciation, accompanied by popular melodies of the abstract hip hop or trip hop genre, combined with Kazakh folklore. On the other hand, the ancestral Turkic and animist traditions and values of the country return in a syncretic way in the imaginary of the author's video clips. Alluding to an intense and critical contrast, between a decadent materialist West and a true returned East. Despite this glimmer of hope, the overall work of Maslo Chernogo Tmina warns us of a dark reverse of the prosperous and contemporary Kazakhstan, as a result of the disintegration of the Soviet Union and the new entry into the global capitalist model. At the same time it focuses on the tragic life that occurred in the streets of the new Eurasian generations.
- PublicationJoseph Beuys, modernidad, vanguardia y posmodernidad(Universitat Politècnica de València, 2021-09-29) Gutiérrez Galindo, Blanca[EN] The celebrations to mark the centenary of Joseph Beuys’ birth in his native country, Germany, have been accompanied by a similar polarization that marked the reception of his work. The following is an analysis of the discussion that arose when his retrospective exhibition, held at the Guggenheim Museum in New York at the end of 1979 and the beginning of 1980. Our objective is to show that the work of this artist became the arena of discussion on the prevalence of the tenets of the Avant‐garde in artistic practices at the end of the seventies and the beginning of the eighties in the United States and Germany, that is, in the years in which the restructuring of capitalism generated the perception that the utopian energies, characteristics of modernity, had been exhausted. To this end, we will review the arguments of authors such as Hans Magnus Enzeseberger, Jürgen Habermas, Andreas Huyssen, Benjamin H. D. Buchloh, Rosalind Krauss, Hal Foster and Peter Bürger, who participated in the debate from different spaces of reflection and places of enunciation.
- PublicationLaberintos de espejos y caleidoscopios habitables: paralelismos catóptricos entre la arquitectura temporal y las instalaciones(Universitat Politècnica de València, 2021-09-29) Bernal Rivas, Gonzalo Enrique[EN] Since the XIX century, temporary architecture and installations have transited ways that sometimes match in the use of certain elements, such as, mirrors. This text, centered in the study of two cases of spaces made with mirrors, has as objective to identify the links between some of the works created from both artistic practices. To do so, this paper is divided into two parts, the first one is devoted to mirror mazes, and the second one to habitable kaleidoscopes. Each section proposes first, a historic route trough some of the most relevant works from both artistic practices, and later, a comparative study in which the works’ similarities and differences in shape and objectives are pointed. This will allow us to glimpse the parallelism that exists, specially between specific works of Gustav Castan and Olafur Eliasson, who from different scopes and times have developed works in which, among other traits, the use of mirrors stands out.
- PublicationMontones de Basura(Universitat Politècnica de València, 2021-09-29) Serrano González, Eduardo[ES] Las sociedades contemporáneas en su continuo proceso de transformación se han convertido en productoras incansables de basura de diferente naturaleza. De entre todo el desperdicio, depositado o amontonado en sus correspondientes puntos, aparecen cada vez con mayor frecuencia enseres abandonados por cualquier lugar. Son los restos de una sociedad en tránsito, objetos que dejan de significar la función para la que un día fueron creados y a la que han servido durante su vida útil para convertirse en metáforas. Adquieren un significado que ya no puede discernirse mediante los sentidos, su carácter tangible se diluye y deja paso a la intervención de la memoria. Son despojados y sustituidos en un proceso repetido una y otra vez, en una dinámica que hace girar la rueda del progreso. Mientras la sociedad mira impasible esta ruina que se genera a sus pies, el progreso se transforma en huracán que acelera el movimiento. La contemplación de la catástrofe no se produce con remordimiento, de esta destrucción se extrae el bienestar y se mantiene el sistema.Por qué entonces tendría importancia alguna este cúmulo de representaciones cargadas de un significado pasado, inutil en una realidad que solo bebe de un presente inagotable. No tendrían más sentido que funcionar como destellos de un pasado reciente que marca un camino de regreso. Un regreso para trazar una ruta redentora y también con potencial revolucionario, capaz de crear memoria colectiva. Esta fuerza emana de los objetos abandonados, al ser los residuos que encarnan las fantasías, los sueños y las vivencias colectivas de un mundo caduco, son los residuos de una realidad que no fué. De todo aquello que quedó obsoleto antes de tiempo en un mundo destinado a generar y consumir, objetos y también emociones, personas y vidasAl volver a aparecer en el presente, descontextualizados, son objetos que enuncian a nuestra memoría, a nuestro pasado más íntimo y también colectivo, llevan en sus huellas escritas las marcas de toda una historia que engloba a la sociedad. Por lo tanto, estas vivencias laten en los objetos y reviven como espectros del pasado cuando se produce su encuentro. Encarnan la historia sin artificio, pero no configuran grandes relatos epopéyicos si no que se adentran en los más profundo de la intimidad, son los objetos del hogar, del espacio doméstico, del refugio humano. Son los enseres de la caverna dejados a la intemperie de la sociedad. Vuelven para enunciar el fracaso más personal, más cotidiano y por lo tanto universal de una sociedad enferma de nostalgia ante la ausencia de futuro. Estos enseres dibujan un camino para recuperarse del desastre. Dotan a la sociedad de formas alternativas de recordar, de ejercer la memoria, permitiendo así la construcción de nuevos espacios de recuperación del pasado. De tal forma que estas acciones comportan una introducción de discontinuidad temporal sobre el presente, adquiriendo la capacidad de transformarlo y abrir la posibilidad de crear algo nuevo: un futuro alternativo.
- PublicationPrácticas de creación y acción colectiva: el caso de las editoriales cartoneras(Universitat Politècnica de València, 2021-09-29) Lepra Terzaghi, Valeria[EN] This text addresses experiences of Latin American cardboard publishers as collective artistic practices, engaged in the production and circulation of books at affordable prices, in the promotion of visual creation spaces open to the communities in which they develop their practices and to give visibility to creators who otherwise would not have access, not only as consumers but as cultural producers. Cartonera publishers arise in Latin America, the first experience was that of Eloísa Cartonera in Buenos Aires, founded in 2003 by Washington Cucurto and Javier Barilaro, which assumed the format of a cooperative, and spread to other Latin American, European and African countries assuming different formats. This work aims to report on the development and results of an investigation carried out between 2016 and 2017, using as a grounded theory as its methodological framework based on interviews, documentary analysis and recovery of images published on social networks. This research collects the voices of five cardboard publishers, from interviews and the voices of other seven publishers from the study of their manifestos. This made it possible to reveal their forms of organization, the decision‐making process, the place of visual creation and the ways of creating community. The conclusions revealed a series of diverse practices that fell under the name of cartoneras and that were halfway between creation and activism.
- PublicationEl resurgir de la belleza en la era posdigital. Contexto, relevancia y actualización del término desde la estética contemporánea(Universitat Politècnica de València, 2021-09-29) Rivera, José Carlos[EN] Beauty in the arts is not fashionable. The term and collective imagery of beauty has been anchored in the controversial ideal of the body, in the utopian romantic nature and has been devalued through a society that manipulates through appearance and identity construction.Something beautiful is related, within the postmodern framework, with something just pretty, purely aesthetic, of a false character and empty of content. This identity crisis helps to dehumanize us even more between the previous saturation of images of diverse conflicts and the control exercised by the Internet and Big Data over our tastes and interests.This text is based on the hypothesis of the loss of beauty, its devaluation in the visual arts and the change of the stage of the postmodern society (or information society) to the introduction of a new postdigital era. The objective: to demand the return of beauty as necessary for re‐humanization through the arts and aesthetics in this new contemporary world. This means contextualize the term today, question it and update it.
- PublicationVisualidades confinadas: ¿foco en el yo en el espacio digital tras la crisis del COVID-19?(Universitat Politècnica de València, 2021-09-29) Kondrashova Saykó, Yelena[EN] This article sets off from the exceptional situation of confinement during the Covid‐19 pandemic to measure its impact on the production of the image of the self in social networks and the artistic reflections on the digitized self by some authors. The theoretical basis for the analysis of this problem is the reflection on visual economies in digital environments and in cyberfeminism, in addition to qualitative contributions on this matter. Although the figures show a growing dependence on digitalisation and representations, at an economic and psychological level, in parallel to a reification in which the information and images of the users become merchandise, the possibility of a possible resistance to the imposture of ocularcentrism and an alternative masquerade.