ANIAV - Revista de Investigación en Artes Visuales- No 05 (2019)
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Editorial
- Editorial
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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- PublicationRelaciones 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.
- Publication‘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).
- PublicationEcofeminismos 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
- PublicationLa 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?
- PublicationEl 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.