ANIAV - Revista de Investigación en Artes Visuales- No 13 (2023)

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/199855

Tabla de contenidos

Editorial

Editorial nº 13

Artículos científicos

Desmemoria en el by-pass: «Font Túria», olvido y recuerdo del arte cerámico de Evarist Navarro Segura
Manual para crear objetos indisciplinados de arte postmedial: revisión y propuesta metodológica
El arte en Chile y la crisis climática en artes mediales
Del gentelman al hooligan. El ocaso de los ídolos produce monstruos
Investigación en las artes: el proyecto ARTS PROPEL como estrategia metodológica
Rebranding Ronda: el muralismo institucional como atractivo turístico
Lenguajes activistas en el arte contemporáneo reciente: selección de casos
Los medios, el mensaje y la guerra. La instalación artística: aura y reauratización
Mascaradas satíricas de un Luis Buñuel performer
Synchresis 50. Para acercarse a una ontología de la Videomúsica

Ensayos visuales

El hombre y lo divino. Una peregrinación bajo el sol de solsticio
Dejarse caer: ensayo visual sobre los efectos del peso
Destrucción se pronuncia construcción

Examinar

Mostrando 1 - 14 de 14

Destrucción se pronuncia construcción
(Universitat Politècnica de València, 2023-09-29) Meneses Gutiérrez, Rodrigo
[EN] The notion of destruction runs through the textile and performance project as a way of building. We generally understand it as something negative, I am interested in working on it as a form of contradiction, since destruction is what germinates creative diversity. One of the main objectives is without destruction there is no experimentation. There are two moments of the project: destruction/action and textiles. In the first, through performance I propose an aesthetic experience to awaken in the viewer a feeling of fragility from contemplation. In the destruction of objects, the sound of the blows is implicit and seeing flying fragments that work as detonators of contingent emotions. In the second moment of the project through textual and drawing records to assemble textiles, promoting order after chaos. The pieces do not match one another, so the irregularities and gaps highlight the mismatch.
Dejarse caer: ensayo visual sobre los efectos del peso
(Universitat Politècnica de València, 2023-09-29) Granero Ferrer, Alejandro
[EN] Deprived of horizontality we resist the fall to the point of exhaustion. Exposed to verticality we discover that our body is heavy and wobbles before the abyss of force. However, the void, that stain of the unspeakable that we have not managed to erase from our language, continues to exert its attraction under our feet. Thinking of everything that falls, ripe fruit, tears, blessings or meteors is a way of conjuring up the vertigo that awaits in our guts. To jump into the void is a beginning. Falling to feel the pleasure of rest or that we are still a body. The weight seems to have been taken away and the fall condemned from the beginning of the story. A traumatism that wounds every human body, perhaps, held by force on the cross. The collapse concerns us, but its collapse requires us to be light, immaterial, lifted up and without vertigo. That is, without the possibility of falling. Every day we immerse ourselves in an infinite cascade of scrolls where thousands of images fall behind the glass of our screens. This essay is based on the compilation of some of these images, all of them recovered from the web. The arrangement of the images seeks to escape from a vertical linearity, proposing a series of compositional panels that allude to different concepts related to falling. From the Christian iconography of the crucifixion and baptism to the pleasure of recreational jumping and free fall, passing through the vector of modernity and the multiple collisions and crashes derived from its thrust. Throughout these pages we intend to explore some attempts to fall in order to discover that under the rubble there is a ground, to discover that life that pretends to be governed by force is ungovernable, to feel alive or simply to rest. To let oneself fall in order to wonder about a descent without gravity.
El hombre y lo divino. Una peregrinación bajo el sol de solsticio
(Universitat Politècnica de València, 2023-09-29) Chillarón Camacho, Ivan
[EN] This visual essay presents the photographic record of the action carried out on June 20, 2023 that had as its motive, rereading its celebration in traditional cultures, the celebration of the summer solstice. The performative action made use of walking as the main action device, covering, from the first ray of sun to the last of the day, a small agricultural circuit, allowing in turn to carry out micro actions. Action in its entirety, which, due to its character and extension in time, made it feel ritual, and even more, a pilgrimage. All this at the service of formalizing a visual and temporal metaphor of the reading -and her thesis- of El hombre y lo divino by María Zambrano, which is also narrative, poetic reason for the relationship given between man and divinity throughout his story. Because the history of the being of man begins in those first days of relationship with divinity, going through stages: from the initial persecutory delusion of loneliness, to its gradual channeling by reason in love that will settle the long-awaited alliance.
Synchresis 50. Para acercarse a una ontología de la Videomúsica
(Universitat Politècnica de València, 2023-09-29) Scarani, Stefano; Chiner Santapau, Julia; Departamento de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] Videomusic is a relatively new language and difficult to define due to its hybridization with numerous other related languages. Heir to video art on the one hand and to experimental music, especially in the electroacoustic field, video music has been taking shape as an autonomous language without the formation of an identification under a group or school by the different authors (largely musicians extended to the Visual field). The Synchresis project, created in 2011, set out to collect videomusic works for dissemination in an attempt to define the genre simultaneously by evidencing its multiform features. After a decade since its beginning, we propose a reflection on the results of this initiative.
Mascaradas satíricas de un Luis Buñuel performer
(Universitat Politècnica de València, 2023-09-29) Pascual Galbis, Pau; Ministerio de Economía y Competitividad
[EN] The paper focuses on the study of action art avant la lettre carried out during the beginnings of Luis Buñuel in Spain, and in relation to the process of the films Un chien andalou (An Andalusian dog, 1929), made in Paris and Los olvidados (The forgotten, 1950), produced in Mexico City DF. In fact, some extraordinary performances related to ethnography and ideology.
Los medios, el mensaje y la guerra. La instalación artística: aura y reauratización
(Universitat Politècnica de València, 2023-09-29) Navarro Rodríguez, Miguel Ángel; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] The mass media are a complex system controlled by power groups and economic elites of building public opinion based on published opinion. Starting from this premise, this article proposes a research-creation work, from a qualitative methodology, through journalistic inquiry and analyisis of texts around the theory of art, taking a tour of historical events of the last century, in parallel with the thought of Walter Benjamin and the concept of aura, to oppose them, in full contemporaneity, with the reply of philosophers and art critics such as Boris Groys or J. L. Brea, who propose a reauration of images, all this Illustrated by an artistic installation project, hybridizing analog and digital disciplines, charging with irony against the manipulation of the media and proposing a space for dissidence.
Lenguajes activistas en el arte contemporáneo reciente: selección de casos
(Universitat Politècnica de València, 2023-09-29) Martínez Biot, Bárbara
[EN] This text is a summary of our research on collaborative artistic practices in relation to the world of activism. Specifically, from artistic research we have focused our attention on the relationships that can be established between art and activism through the most popular activist languages. As an example, we have considered it interesting to observe the use of activist practices by artists or artistic groups in what we would call direct influence, that is, borrowing from direct action practices in the field of contemporary art. Following a chronological order, we expose the following practices: reverse graffiti, demonstration, public denunciation campaign, graphic material, performance, and celebrations or parties as the most popular categories. These practices have been materialized in numerous artistic works of which in this text we present some significant examples as evidence of these relationships between art and activism. First of all, Dominique Mazeaud and Francis Alÿs represent with two of their works the influence of reverse graffiti. Secondly, within the manifestation category we have selected a work by Daniel Buren, which leads to the exhibition of works by Hans Hacke as representative of the public denunciation campaign as artistic work. Fourthly, we have observed traditionally activist graphic material in works by Isidro López-Aparicio, Santiago Sierra, the Escombros group, Oliver Ressler and the GAAG group. Finally, the performance, parodies and parties categories will be represented by the group The Waitresses, Regina José Galindo, Coco Fusco and Guillermo Gómez-Peña and Antoni Miralda. These artistic practices are shown here read from the most outstanding activist languages, reflecting the direct and indirect influences that cross these two fields that are so frequently related.
Rebranding Ronda: el muralismo institucional como atractivo turístico
(Universitat Politècnica de València, 2023-09-29) Martínez Rodríguez, Francisco
[EN] Since the second decade of the 21st century, the province of Malaga has experienced the intervention of dozens of muralists under the label of street art. These murals have not been carried out independently, but have been done through the intermediation of the political powers of each locality in which these events have taken place. One of these places is Ronda, which, under the name Rebranding Ronda, has promoted a series of large-format murals starting in 2021, with the main objective of adding a new tourist attraction to its city. The artist chosen as the emblem to inaugurate this marketing strategy has been Okuda, an internationally recognized muralist in this field. To analyze this event we have compiled a wide series of articles that appeared in the local press during the days in which the interventions took place. Furthermore, they have been contrasted with similar interventions carried out previously both in the province of Malaga and in other places, in order to be able to draw conclusions that essentially refer us to the relationship between art and politics. It is also for this reason that in this text authors referring to such disciplines are cited, which illuminate a series of final reflections. The instrumentalization of street art by different governments around the world is a more than proven fact. Muralism, as the main discipline of this movement, is the one that leads the vast majority of events. The use of muralism to attract tourists, as well as to regenerate depressed areas of cities, has become a common tool in our cities. Neoliberalism is the system that has most intensely understood the advantages that spectacular practices such as large-format muralism can bring, which become a new type of low-cost monumentality, whose signature is as or more important than the work itself. Thus, certain brand-artists become objects of desire for the rulers, sensing that with this they will provide an avant-garde incentive to their respective cities, as we understand has happened in the case we present in Ronda.
Investigación en las artes: el proyecto ARTS PROPEL como estrategia metodológica
(Universitat Politècnica de València, 2023-09-29) García Sánchez, María; Departamento de Dibujo; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] We find ourselves immersed in a context where the equating of artistic research with scientific studies is increasingly evident. This equivalence results in an engulfment of artistic processes by the methods and tools of science. In this context, it is vitally important to recover the processes of artistic inquiry. Intuition, perception, materiality or narrative are some of these genuine forms of research in art. All of them make up the well-known qualitative methodology, which stands as an alternative to the prevailing scientific method. It is our duty to defend the rigor of such research, delving into the link between theory and practice. Perhaps this is one of the most significant problems among those presented by art research. To respond, we propose for its study the use of the methodology of the Arts Propel project. Taken as an analysis tool, this project to improve the evaluation of the arts can be a starting point to question what we do and how we do it. In order to discern how an approach to educational improvement can influence the methodological processes in art, we propose a confrontation between the terms art and research. From this discussion a new categorization arises that facilitates the understanding of PROPEL and its insertion in research practice. With its application we aspire to question the link between art and research, as well as possible solutions to research problems.
Del gentleman al hooligan. El ocaso de los ídolos produce monstruos
(Universitat Politècnica de València, 2023-09-29) Casares Rivas, Nilo Manuel
[EN] For some time now we have been seeing how in any bar on the peninsula, the slightest disagreement between the conversation partners is settled by unsheathing the little phone, invoking Saint Google and settling the discussion by taking literally the best-placed hoax circulating there. We have gone from the learned ignorance practised by Nicolás de Cusa, well aware of the limits of knowledge, to the display of that illiteracy so dear to José Bergamín in La decadencia del analfabetismo. And we cannot excuse the matter by resorting to Harold Bloom's miss-reading, since this demands a bookish culture and the desire to continue a tradition; in the face of it, we are now faced with contempt and fear of that double-edged sword which is the letter because, at least in Spanish, it enters with blood. As Erasmus of Rotterdam pointed out in his In Praise of Folly, people only expect to hear that which is easiest to swallow, which is why INTERnet entries must enjoy the greatest futility in order to gain followers, something that obliges us to restore the competencies of knowledge in order to establish the distinction between what is knowledge and what is useful cackling only for mating. This paper continues my research in the sphere of digital arts and culture, to insist on the persistent cultural decadence since the appearance of web 2.0 in 2004, the date of the beginning of the decline of the idols. Nota bene: The title is taken from Jean Dulck's article "Du gentleman au hooligan". The subtitle, it goes without saying, refers to Nietzsche's cliché on The Twilight of the Idols, and to the well-known engraving by Francisco de Goya y Lucientes "El sueño de la razón produce monstruos", no. 43 of the series of Los Caprichos (1797-1799).
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.
Manual para crear objetos indisciplinados de arte postmedial: revisión y propuesta metodológica
(Universitat Politècnica de València, 2023-09-29) Bernal Rivas, Gonzalo Enrique
[EN] This work has been prepared with the intention of reviewing some concepts and background for the project called Handbook to create undisciplined objects of postmedial art, which objective is to favor the production of professional and amateur artists. It has been structures in two sections. In the first one, an approach is made to the concept of handbook understood as a pedagogical tool from a brief historical perspective; the notions of undisciplined object and postmediality are examined, departing from the division of arts and considering Muller’s position (2015); a selection of precursors is examined, such as the intermedial curriculum of Maciunas (1968-1969) and the post-disciplinary curatorial strategy of Stafford and Terpak; the language-focused Tatarkiezicz’s (2001) classification of the arts that is addressed and the differences between them are included according to Entenza (2008); also, a handbook is explored (Gómez-Peña and Sifuentes, 2011) to determine if it could be regarded as a model. In the second section, after the review that was made, a methodological proposal that contributes to the creation of objects that have the described features.
Desmemoria en el by-pass: «Font Túria», olvido y recuerdo del arte cerámico de Evarist Navarro Segura
(Universitat Politècnica de València, 2023-09-29) Balanzà Martínez, Ricard
[EN] This article is an approximation to the poetics of the Valencian sculptor Evarist Navarro Segura (Castelló de Rugat, 1959-2014), who, considering clay as a material for artistic creation, developed with it a thought strategy through which to establish new links with existence through direct experience with the material and its ceramic transubstantiation, as well as its plastic and aesthetic possibilities, where the authenticity of the gesture emerges from the fingers, between caresses and pinches. Sculpture, as a preferred and outstanding discipline within his work, is understood as a continuous process, open to space and time, constructive, organic and imaginative, in a material feeling filled with intimate reverberations that appeals to the senses and the borders of the indefinite. Through the study and cataloging of a public and monumental work by the artist, «Font Túria», on the A-7 motorway as it passes through Paterna (Valencia, Spain) in the section popularly known as by-pass , which is in a total state of abandonment and in danger of disappearing in the not too distant future due to the expansion of the highway, it leads us to reflect on the relation that the artist and the human being establish with the body, the experience of inhabiting, the territory, the identity and the memory.
Editorial nº 13
(2023-09-29) Pérez García, Elías M.; Martínez Arroyo, Emilio J.; Silva dos Santos, Fabiane C.
[ES] Editorial número 13 de la revista ANIAV, septiembre de 2023

Examinar

Envíos recientes