ANIAV - Revista de Investigación en Artes Visuales- No 10 (2022)

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https://riunet7pro.upv.es/handle/10251/182725

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Editorial

Editorial nº 10

Artículos científicos

Geopoética de la emergencia: el agua en el arte colaborativo
Proyecciones y texturas. Una aproximación a la Performance Audiovisual ‘Borders’
Estado de movimiento permanente: La narración espacial
Dispositivos de crisis: procedimientos y mutaciones en la obra de Marco Godoy
Transformando los desperdicios en arte participativo: Trash art + Patrimonio
Reinvenciones desde la voz como fin y medio (Lia y Sandra reinventándose)
Écfrasis como análisis visual según W. J. T. Mitchell: “Still Life / Style Leaf” de Mónica Bengoa
El rompecabezas del arte contemporáneo: Incertidumbres, novedad y aburrimiento

Ensayos visuales

LIÑE
El poder en ausencia. Iconografía fantasma de Felipe VI

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Mostrando 1 - 5 de 11

El poder en ausencia. Iconografía fantasma de Felipe VI
(Universitat Politècnica de València, 2022-03-31) Prat Altimira, Ignasi
[EN] Although throughout history there has been a constant manifestation of forms of rejection of the image of the head of state in the Catalan territory, the increase in political tension between Catalonia and the Spanish state since 2012 has led to an increase in the iconoclastic phenomenon. The images that make up this visual essay are the result of an activity of image archaeology, which gives an account of the anti-Borbón iconoclastic phenomenon taking place in the plenary halls of Catalonia. Specifically, the article focuses on the recording of the traces left by the removal of the official portrait of Felipe VI. This form of symbolic or indirect iconoclasm is based on the purpose of damaging, through the displacement or concealment of the image, the principle of integrity of a work of art that has been conceived specifically for a context of officialdom. The beginnings of an ancient presence in the images invoke an absent iconography and constitute themselves as expressive agents of the political tensions of the moment.
LIÑE
(Universitat Politècnica de València, 2022-03-31) Hesselbarth, Cordula
[ES] Instalación LIÑE
El rompecabezas del arte contemporáneo: Incertidumbres, novedad y aburrimiento
(Universitat Politècnica de València, 2022-03-31) Chao-Yang, Lee; Clemente Marco, José Luis
[EN] Through the promotion and spread of museums, art galleries, biennials, academic research, etc., contemporary art has become an important subject since the late 20th century. Contemporary art was once a fashionable term, but it is also a term full of uncertainties and challenges. This investigation will discuss contemporary art through time, space and originality, and will explore the reality of boredom caused by contemporary art s lack of newness. One of the biggest challenges of contemporary art is its temporality: determining the exact timeline of contemporary art is a perpetual topic of debate. Moreover, in terms of space, international contemporary art exhibitions are frequently dominated by Western art. How, then, is it possible to increase representation of the contemporary art from different territory without any prejudice? On the other hand, as contemporary art has followed the development of the artistic language of avant-garde art, its originality and novelty have been widely questioned. Its characteristic of repetition causes a reduction in novelty, ultimately bringing its viewers into boredom. But is this really the fate of contemporary art? Structuralists and deconstructionists explore the relationship between contemporary art and avant-garde art from different perspectives, dismantling the power and originality of the latter. However, is this type of analysis really a reliable and meaningful way to interpret contemporary art? Or does it take contemporary art further into nihility and boredom? All of these issues will be explored in this investigation.
Écfrasis como análisis visual según W. J. T. Mitchell: Still Life / Style Leaf de Mónica Bengoa
(Universitat Politècnica de València, 2022-03-31) Gerdes Palominos, Michelle
[EN] This research aims to prove the usefulness and relevance of the use of ekphrasis in the analysis of contemporary visual works that encompass the relationship between image and text, through the study of W. J. T. Mitchell s (1942) theories of image. These approaches are tested through the study of the work Still Life / Style Leaf (2014) from the Chilean visual artist Monica Bengoa. This, with the intention of enriching the national artistic discussion, from a linguistic point of view, and expanding the study margins beyond the limits of the dominant formalist and historiographic perspective; providing ekphrasis as an alternative and complementary tool to traditional visual analysis, based on a specific theory to avoid speculation.
Reinvenciones desde la voz como fin y medio (Lia y Sandra reinventándose)
(Universitat Politècnica de València, 2022-03-31) García Barreto, Lia; Martí, Sandra Amelia
[EN] With this performance-conference we try to subvert even in part the patriarchal legacy, from which the body (particularly that of women) has been systematically manipulated to become a passive receiving entity, away from its natural role of being creative, interpreter, transformer and generator of autonomies; this, primarily, within an urban environment and the current capitalist conglomerate that becomes a scenario that welcomes us, but also excludes us and keeps us constantly alert during its tours and its decoding. We will find here that, particularly, decentre the action of singing supposes a singular transgression, since disarticulating the modus operandi of speech, which is completely normative, constitutes a new methodology of action, writing and collaborative work between speakers-singers and the brave listeners.

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