ANIAV - Revista de Investigación en Artes Visuales- No 08 (2021)

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Editorial

Editorial nº 8

Artículos originales de investigación

Arte público activista. Estrategias participativas y transmedia en el proyecto feminista #PortalDeIgualdad dirigido a la transformación de los museos y centros de arte
Anarchivo y producción contrahegemónica del relato. El paisaje cultural de l’Horta como caso de estudio
(E)SPECULA(R), un estudio del patrimonio cultural como un espacio de disputa material a través de prácticas colaborativas
El vestuario como acción disruptiva en el entorno popular, intelectual y artístico en España: del Motín de Esquilache a la proto-performance de Vanguardia
Laptops, sonidos y datos masivos. Una perspectiva medial y aplicación en la prácticas artísticas sonoras algorítmicas post-digitales
Arte por computadora: diseño de arte por software
NEVER ODD OR EVEN. Una maniobra de posicionamiento. Entre el cómic y la vídeo instalación
Contra el placer: el arte que nos aburre
Fenomenología y memoria involuntaria en la experimentación pictórica
Escultura cinética en Quito: Precursores y cinetistas

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Now showing 1 - 5 of 11

Escultura cinética en Quito: Precursores y cinetistas
(Universitat Politècnica de València, 2021-03-31) García Moreno, Mario Fernando
[EN] In the city of Quito, Ecuador, there are artistic expressions of a kinetic order, however, such manifestations have been little studied in their integrality, which is why the author of this article has considered it appropriate, even more so in his condition of citizen and sculptor Quito, to collect bibliographic and field information that contributes to the documentation, visibility and future debate of the subject in question. With this objective in mind, this research collects part of the results obtained from the doctoral thesis on "Kinetic sculpture in structural steel", currently under development, which provides the proper contextualization on this topic in the global panorama and, specifically, in art. Ecuadorian kinetic. The information offered, whenever possible, is presented free of speculation or value judgments, which will be in charge of future theoretical undertakings carried out by third parties.
Fenomenología y memoria involuntaria en la experimentación pictórica
(Universitat Politècnica de València, 2021-03-31) Porta Salvia, Carme
[EN] This article reflects on the process that takes place in our memory for the construction of a memory, an internalization process that becomes the starting point for the creation of a pictorial work. For this we will use the concepts: Involuntary memory and phenomenological experience as components that become essential to explain the birth of an image or if not, they place us in front of an attitude that in artistic work can surprise us in an unequaled way. This research is based on my own experience that as a practitioner of painting, has led me to reconsider memory as a source of creation and also as the origin of what we call imagination. In this study I will refer to the thought of Edmund Husserl (1859‐1938) and Marcel Proust (1871‐1922) to deepen the concepts that are capital in this research, as well as and in a cross‐linked way, we will quote Henri Bergson (1859‐1941) and the philosopher Marina Garcés (1973‐), For the construction of this speech I will mention two personal pictorial projects carried out in recent years: Aenclosures (2017‐18) and Gestations (2018‐2019). Both were presented in the exhibition spaces of the Port of Tarragona during the season (2019‐20).
Contra el placer: el arte que nos aburre
(Universitat Politècnica de València, 2021-03-31) Lee, Chao-Yang
[EN] The traditional concept of art is closely related to beauty and also to aesthetic pleasure. However, the emergence of avant‐garde and contemporary art has subverted that imagination. Art no longer seems to be pleasant, but it can also be disgusting and tedious, just like contemporary art that has often been criticized as such. From this point of view, this article attempts to look at the reasons why some art bores its viewers. From the epistemological perspective, we start to examine the philosophical thoughts of Plato and Kant on art, and the critique of Marxist ideology and aesthetics, exploring different perspectives on aesthetic beauty and pleasure. Furthermore, through the aesthetics of ugliness studied by Rosenkranz, of which opens the space for the discourse of negative beauty, we start our deduction of boredom in art. We discover that boredom generated by art does not have an absolute link with beauty and ugliness, but rather it has to do with the subjectivity of the viewers. With the examination of boredom from the perspective of the structure, content, time, mechanical production, and interpretation of the work, we have found that in addition to the characteristics of the work itself, the production of boredom is related to the educational and cultural background of the spectator, as well as to one´s personal taste. Finally, we also question whether art has begun to be boring and unremarkable after the historical progress of art being suspended, owing to “the end of art” suggested by Danto.
NEVER ODD OR EVEN. Una maniobra de posicionamiento. Entre el cómic y la vídeo instalación
(Universitat Politècnica de València, 2021-03-31) Artero Flores, Javier
[EN] This article analyzes various disciplinary crosses between the comic format and the multi‐screen video installation “NEVER ODD OR EVEN. A positioning maneuver” (2016). We use a hybrid methodology of artistic practice as research, in which we resort to theoretical texts, artistic works and to the work of artistic research in constant feedback. Through this study, our objective is to point out the ways that audiovisuals take to generate stories in the absence of events. Finally, these analyzes lead us to point out narrative strategies characteristic of the graphic novel in the videographic work of artistic research, such as the use of the loop and a consequent thematization of the temporal parameter.
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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