III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL

La globalización está afectando a todos los aspectos de la vida actual. Los conflictos y posibilidades que de ella se derivan generan situaciones específicas en cada contexto local. Desde las prácticas y la investigación artística surgen nuevos perfiles y propuestas que cuestionan, intervienen y modifican, estas situaciones y contexto.

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/95631

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Por una investigación intermedia
(Editorial Universitat Politècnica de València, 2017-10-23) Sánchez de Serdio Martín, Aida
[EN] The possibility of carrying out research processes between the academic and the extra-academic in the field of culture and art is currently confronted with a number of difficulties. The separation between the research produced in the university and the fields to which it refers, the lack of resources and incentives to do research in the field of cultural production, and the forms of circulation of research are only some of the aspects that require a debate if we aspire to change this state of affairs.
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Investiga, activa y juega, que algo queda
(Editorial Universitat Politècnica de València, 2017-10-23) Cañas, María
[EN] It bets on the field of living and research that focuses on artistic experimentation through "risastencia" (the humor of all colors and flavors), the game, the Do It yourself (DIY), the agitation and collaborative practices of connected multitudes, as strategies of insurgency or, if not, at least, resistance and popular survival. Challenge to defend the laughter that organizes the rage ... or not, why, and if that rage in the end only remains “datatyped” in the walls of cyberspace? Let us defend at all costs the non-privatization and liberalization of our historical and imaginary memory. Let us be activists committed to free culture and to the idea of culture as the collective construction, as counter-history, to practice a culture of opposition. Eternal life for the public domain! Let's bet for a life worthy of being lived, by María Zambrano, for the organic file of the internet and the audiovisual "detritus" that surrounds us as tools of cultural development, and for the need to educate and investigate in the hacking and recycling of our imaginaries, to transform us into more free, critical and creative beings. Let's be on the streets and with the Internet of things or as O'Reilly calls it, the web finding the world. It is up to us to teach people who are aware and sensitive to what is happening, adaptable to convulsive changes and who respond creatively, ecologically and ethically to the problems of our time.
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Modificaciones del concepto de lo salvaje en el Antropoceno
(Editorial Universitat Politècnica de València, 2017-10-23) Miquel Bartual, Mijo; Departamento de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Creaciones Intermedia. LCI
[EN] At a time of systemic crisis such as the one we are in, the fight against climate change is one of the priorities we must face, even before facing the announced exhaustion of fossil fuels and the consequent transition towards renewable energy consumption. From a multifactorial analysis, all disciplines agree on the urgency of change and at a global level, this conviction should equally transform our life styles by integrating ecosystemic criteria into any new planning. Recognizing the Anthropocene as the new natural frame as well as the devastating effects that result from it on a planetary scale allows us to make an epochal re-reading of the wild, reversing its meaning since, instead of corresponding to the old colonialist meaning of the uncultured Other, it should be applied to our civilization that in theory is at its peak of development in terms of education and resources: never before so many have had so much and been able to learn so much. With regard to this turning point, we ask ourselves what art can do about it, how it could contribute to the visibility of our urgency and to establish a link with the territory, through the necessary elaboration of the ecological grief that the recognition of this new era provokes, avoiding the paralysis and / or headlong rush as evasion tactics.
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Producción de sentido y proceso de trabajo en el videomapping kavafisVives
(Editorial Universitat Politècnica de València, 2017-10-23) Martínez Arroyo, Emilio; Gracia Bensa, Trinidad; Giner Martínez, Francisco; García Miragall, Carlos Manuel; Departamento de Escultura; Departamento de Pintura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz; Departamento de Sistemas Informáticos y Computación; Ministerio de Economía y Competitividad
[EN] KavafisVives is an audiovisual production that was projected in October 2016 at the Cloister of the Centro Cultural La Nau in Valencia, on the occasion of the parallel activities held at the event “Mostra del Mediterrani 2016: Cultura i conflictes del Mediterrani”. Realized by the research group Laboratorio de Luz of the UPV within the research project "Mutant Screen" funded by MINECO HAR2103`47778R. The project starts from an interpretation of the theme "culture and conflicts of the Mediterranean", which tries to connect the roots of Mediterranean culture with the emergence of the present moment and the physical place on which this audiovisual will be projected. Starting from the poetic work of Constantino Kavafis that approaches the journey and the sea as a place of encounter, separation, loss and life from the vital subjectivity, we try to generate a discourse of the recent crisis of refugees who try to cross that same sea until Europe, fleeing from barbarism towards a possible future. The projection takes place in the Cloister of the Cultural Center La Nau, in Valencia, whose center is the stature of Lluis Vives, humanist whose intellectual integrity and work are linked to the best virtues of the European spirit. KavafisVives is a video mapping made by an interdisciplinary group of artists whose initial premise was to create a narrative away from the spectacular tone of some video mapping productions, maintaining a sobriety tone that allows to approach with respect to the current situation, from the Reflection of the Europeanist discourse of Lluis Vives and the poetic subjectivity of Constantino Kavafis.
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Formas del tiempo y la memoria en el arte contemporáneo latinoamericano
(Editorial Universitat Politècnica de València, 2017-10-23) Maddonni, Alejandra
[EN] Throughout the history of art, space and time have been approached as separate categories. In effect, the modern conception defined time as the domain where things happen and the space where things are. In this scheme, time is progressive, measurable in terms of events that occur with a homogeneous pattern. The project of modernity, in its relentless search for certainties, has needed this split and others as form-content separation order to erase all uncertainty and instability. In this way some categories of analysis have been left out of the modern gaze, even to this day. The body, the monstrous, the mystery, the time stopped, the intensity, the experience, the complex, the multiple, the suspended, the nonlinear and the suggested are just some of the dimensions with which contemporaneity weaves the plot of its works. Contemporary art reconfigures temporality. Time and space are united with the work, they are the work. It allows new modes of perception and offers us another way of seeing the world cognitive operations. Through the critical analysis of a group of Latin American artists, this text tries to generate a network of links and tensions between their visual productions, their poetics and the contemporary modes of time, materiality and context. Selected artists Ana Mendieta (Cuba), Graciela Sacco (Argentina), Lucy Argueta (Honduras), Jorge Macchi (Argentina), Alfredo Jaar (Chile) and Regina Galindo (Guatemala) have worked in a good part of their production with the body. Present the absent. Single or multiple. As a theme, support, form and content. As a cultural, social and political position. As a temporal becoming, memory and territory in permanent dispute.
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El concepto de "Estación Creativa"; un proyecto reticular basado en el proceso creativo compartido
(Editorial Universitat Politècnica de València, 2017-10-23) Valdaliso Casanova, Teresa
[EN] Considering the idea of the metropolis as a knot of connections where the geographical location of the central core plays a temporary and itinerant role, being frequently displaced to the periphery, a project of creative exchange is proposed, which acting structure is defined in a reticulated way, promoting the regeneration and I redutilization of spaces in disuse, or using new spaces placed in territories that don't receive the consideration that they deserve. The decentralization of the creative places and artistic divulgation, implies the reconfiguration of a lost territorial identity that, appearing irrecoverably, decides reinvent itself from a new concept of space of merging and fruiting, a point of meeting and of addition of diverse realities that can be found in a local area, proceeding at the same time from other local areas, all of them belonging to the same exchanging network. This idea is materialized by the concept of " Creative Station ", developed theoretically by Italians Paolo Rosa (artist and teacher) and Andrea Balzola (playwright and teacher), that's been realized for the first time in the Spazio MIL, in Sesto San Giovanni (Milan) in April d May, 2016. Creatives, artists and researchers of diverse disciplines operated as cultural and social agents, from a perspective of political art where the polis means the extension of place where we all live together. Activators of a shared imaginary, they include the visitor as integral part of the creative process, a process based on the formation, the investigation and the production. Where the aura does not belong to the work of art any more, but to the artistic common experience.
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El tapado de la imagen como estrategia de producción artística
(Editorial Universitat Politècnica de València, 2017-10-23) Rey Villaronga, Gonzalo
[EN] This article analyzes the work "Mirror" by David Hammons, to demonstrate how the capping of the work of art continues to be a critical strategy of anti f existentialism against the abundance of images. This is an analysis and an interpretation that is part of a more extensive work that we develop on the anti-traditional practices in the contemporaneity.
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La política cultural desde dos enfoques divergentes: la cultura como lo común, la cultura como modelo productivo competitivo
(Editorial Universitat Politècnica de València, 2017-10-23) Etxebarria Madinabeitia, Izaskun
[EN] This is a comparative study between two models in cultural politics. The first proposes culture as the common in a general global sense that approaches a model for local contexts. The first part of Jaron Rowan's book "Free Culture of State" (2016) is developed through four interrelated conceptual maps: "Culture as a problem, as a right and as a resource", "Culture as the public, the private and the common" and "Access policies "and finally, "Commons, or common forms situated". The second poses a competitive model of culture from the productive approach in an autonomous context in relation to a national context. We analyze the framework proposal presented in the Strategic Plan of Culture (PLEC) from the document Programmatic)proposals)for)a)strategic)plan)of)the)culture commissioned to Econcult by the Generalitat Valenciana in 2016, whose success lies in a change from the Welfare)model to Competitive)model of culture for the achievement of certain objectives derived from "satisfying the cultural rights of citizenship" through the proposed cultural policy, thus transforming the reality in which the valencian cultural ecosystem is located.
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La investigación artística como hilo conductor entre dos mundos
(Editorial Universitat Politècnica de València, 2017-10-23) Martín Martínez, Laura
[EN] This article is part of a doctoral thesis focused on the therapeutic power of Art capable of abolishing emotional blocks. The research is oriented in multiple directions that transcend the purely academic and are interwoven with the experience of the experimental process and the knowledge acquired in the theoretical corpus. The individual who suffers emotional blocks is able to construct or reconstruct correctly the mental image and concept of himself through his own theatricalisation. Art holds a therapeutic power in establishing a relationship between personal and bodily life. Linking art and neuroscience, we can say that artistic expression has a universal character that surpasses situations where verbal language does not arrive.
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Lo íntimo es político y viceversa: un estudio autoetnográfico sobre el performance y la muerte
(Editorial Universitat Politècnica de València, 2017-10-23) Fajardo Montaño, Odette
[EN] The gradual loss of death rituals in Western and Westernized societies today is due to a colonial-capitalist alliance that prizes worldwide and seeks the destruction of local epistemologies while fueling a model of civilization. In view of this scenario, we ask ourselves about the importance of ritual function. Whether it is necessary to preserve, reframe or construct rituals capable of satisfying the therapeutic need of people in mourning and whether these rituals can become a manifestation of resistance to voracious globalization. Based on the performance studies, we will analyze a series of performances (cultural and artistic) conducted between 2012 and 201 on a particular death: The death of my father. This analysis will explore different points of interest within the performances, such as: The creative and / or constitutive process, the historical and cultural context in which they are rooted and manifested, the symbolic and aesthetic wealth they possess, the spiritual and / or therapeutic As well as the social and political repercussions they have. The present work will start from the autoethnographic methodology that will help us to establish as a starting point the personal view submerged in a particular context, understanding the intimate as a political fact and vice versa. Thus, we delimit our problematic at the same time that we will understand each death as a particular experience that cannot be generalized and that within it exists a whole complexity of factors that support it. All this will lead us to understand memory and ritual as a personal necessity and as cultural resistance.
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La escultura pública en el proceso de remodelación del viejo cauce del río Turia en Valencia, 1973-2014
(Editorial Universitat Politècnica de València, 2017-10-23) Fenoll Pellín, Alberto
[EN] The river Turia leaves an indelible mark on the city of Valencia because of the importance that it has had on the spatial shape of the city and on its historical passing of time. This is reflected in the riverbed deep transformation, moving from being a natural space to a big urban garden and reshaping Valencia’s image. This is a process in which the Sculpture is involved as a unique contribution. The research work, named The public sculpture in the renovation process of the Turia’s old riverbed in Valencia, 1973\2014 does an inventory and catalogues sculptures which are located in this space. The principal task is tackling a study of the sculptural action plan, adopted in the course of the old riverbed landscaping, as well as the interventions’ management, taking into account their environment and their historical development. The exhaustive analysis of the information collected and contextualized with its historical happening will allow us to build a story of every sculpture which is part of the old riverbed’s story. The sculptural action plans carried out can be classified into three types: outside the official plans; sculptural action inside the official plans, and sculptural actions included in landscaping design. The results obtained confirm that there is no joint space project, and this finishes with a dissemination sculptures along the way. This is not a result of any plan but improvisation that has led it to a progressive lack of concern over time and this damages seriously the state of the sculptures and their exhibition. The research aims to assess the results obtained from the current circumstance of sculpture in this specific place and it will help us to introduce a reflection about the future sense of the public sculpture in urban areas, particularly in the city of Valencia.
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Estudio exploratorio para la gestión de plataformas culturales como medio educativo y de desarrollo local para comunidades desfavorecidas; Ecuador
(Editorial Universitat Politècnica de València, 2017-10-23) Navas Guzmán, Lidia; Henríquez Coronel, Patricia
[EN] Beyond its function as an aesthetic experience, artistic expression has become the ideal way to generate participatory projects with society by creating "support networks to strengthen the sense of belonging to a community and to readjust the systems of vital relationships at the family level , group and social" (Abad, 2009). That is why, the research that is being carried out, aims to develop artistic projects capable of generating social change, local development and education, through different artistic disciplines to be set up and linked to a rural community of the Ecuadorian south coast: The Las Tunas Commune. In the first stage, the investigation is in the phase of territorial recognition. This communication describes, on the one hand, the guidelines of the research project for the creation of a cultural management platform and, on the other hand, the intervention community in question and practices that take place inside and outside the schools.
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Comparativa entre distintos consolidantes inorgánicos nanoparticulados a base de hidróxido cálcico
(Editorial Universitat Politècnica de València, 2017-10-23) Barreda Usó, Gemma; Zalbidea Muñoz, Mª Antonia; Osca-Pons, Julia; Departamento de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Instituto Universitario de Restauración del Patrimonio
[EN] The present research work shows the comparative study carried out between different nanoparticulate consolidating materials of inorganic origin based on calcium hydroxide, on stony supports with carbonic matrix. In order to carry out this comparison, various nanostructured materials have been selected which have been specifically designed for the preservation of the heritage, specifically for the consolidation of stone supports, mortars, mural painting, etc. Due to the novelty of these products, it is necessary to study them individually before being used in certain fields of the restoration as it happens with the consolidation of rock painting done on calcareous rock. For this reason, the possible products related to this need were selected. The consolidants chosen to carry out the test process are nanoparticulate materials based on colloidal solutions of calcium hydroxide Ca (OH)2 dispersed in different types of alcohols and in different concentrations. Among them, we find, for treatments of surface consolidation, the Nanorestore® and the products of the range CaLoSiL®; Within it have been tested different variants such as: CaLoSiL E5®, CaLoSiL E25 grey®, CaLoSiL IP5®, CaLoSiL NP5®; and for adhesion treatments between strata, CaLoSiL paste like® and CaLoSiL Micro® have been chosen. Only with the results obtained, it will be possible to determine if these nanoparticles are suitable for use in real work with specific characteristics.
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Les triplettes de Belleville y el poder de la síntesis
(Editorial Universitat Politècnica de València, 2017-10-23) Leão, Carolina; Carrasco, Claudiney R.
[EN] This study intends to interpretate the visual references in Sylvain’s Chomet animation ‘’The Triplets of Belleville’’ (2003). The understanding will be reached by image and comunication analysis: the visual aspects of the film shows specifics references of french and american culture. So with the analysis it will be posible to contextualize and understand small signs composed through the whole animation. Through a detailed research, it’s possible to reveal wich way the narrative is created to be critic and also comic at the same time. We will use Mikhail Bakhtin's concept of "sign" to articulate these references of the image and to understand its power over the comic and critical composition of the narrative in question. By using different ways of relating visual signs, the animation explores a ludic nature, wich shapes part of the narrative and reinforces the dramatic meaning. Therefore, this analysis that deepens in the study of the signs of the image, will result in the understanding of the values and the creation of the senses constructed in the animation.
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Marga Clark la última Roësset. Arte a través del tiempo y de las fronteras
(Editorial Universitat Politècnica de València, 2017-10-23) Siso Monter, Montserrat
[EN] The artist Marga Clark, the last descendant of the family Roësset, where female artists stand out, is a poet and photographer who combine both disciplines in her work, it stands out for a unique lyricism that transcends boundaries and unifies feelings in a world Globalized. She is a clear exponent of current artistic art. In the communication that I propose, I intend to make a journey through his forty years of professional career and his three most outstanding stages, analyzing the evolution of his artistic achievement. Marga Clark has published several books of his works, the first of them, Static Movement / Static Movement, was acquired by the MOMA of New York in order to be sold in its bookstore. In 1 1 publishes Photographic Impressions, a book essay on the photographic language. This artist has collaborated with various media since the 80's as a graphic reporter, including La Vanguardia or El País. Throughout his career he has exhibited his photographic work in numerous exhibitions, both individual and collective in America and Europe. His retrospective exhibition Marga Clark, Cosmology (1 76f2016) at the Antonio Pérez Foundation, and at the Museum of Photography in Huete, Cuenca can be seen at the moment. On the other hand, it is possible to emphasize that his work can be found permanently in collections such as the Brooklyn Museum of New York, the National Library of Paris, the Spanish Museum of Contemporary Art in Madrid, Col.lecció Testimoni de la Caixa Of Barcelona, the State Society for International Exhibitions, the Telefónica Foundation or the Helga de Alvear Collection, among others. It can be said that this photographer-poet stands out for his work , while uniting masterfully photography and poetry.
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Estudio comparativo de la pintura mural gótica valenciana a partir de elementos de estilo y materiales representativos
(Editorial Universitat Politècnica de València, 2017-10-23) Rubio Mifsud, Aurora; Zalbidea Muñoz, Mª Antonia; Departamento de Conservación y Restauración de Bienes Culturales; Facultad de Bellas Artes; Universitat Autònoma de Barcelona; Ministerio de Ciencia e Innovación
[EN] We present in this communication part of the research work carried out in the doctoral thesis "La mural mural gòtica lineal a territori valencià. Status quo of the corpus conegut. Study for its conservation"(2015), which has cataloged the corpus of linear Gothic paintings conserved in Valencian territory. In this work, 34 buildings have been identified, which contain totally or partially remains of 71 decorative sets (figurative, decorative and architectural) with Gothic characteristics, and is still open due to new researches in progress and continuous discoveries of paintings that continue to be produced. In the investigation, the Gothic mural paintings were analyzed individually, identifying historical and geographical circumstances, background and references in other arts, as well as the study of conservation status, invoice mode and component analysis, in order to find Common features that define the existing corpus. It has been found a wide variety of themes represented, of decorative and stylistic resources, determining that there are diverse themes, ornamental elements, distribution structures, and models that make up a rich artistic panorama. We present in this work the comparative analysis at the stylistic and material level based on the common traits detected a in the different pictorial sets. In the stylistic area (presented in this article), all of the identified sets are studied, regardless of whether they are located in the initial Gothic period or more evolved, or that conform architectural decorations.
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Fabricación de (sin)sentido
(Editorial Universitat Politècnica de València, 2017-10-23) Navarro, Juan
[EN] The aim of FABRICATION OF (NON)SENSE is to question the discursive system in which Science and Art are based by means of the fabrication of a “false” scientific result with appearance of veracity and its later diffusion in the scientific international area. The result has been presented in the 2nd'International'Conference'on'Mathematics'and'Computers'in' Sciences'and'Industry, which took place in Malta (2015), and it has been published in the Journal'of'Advances'in'Applied' Mathematics (Vol. 1, No. 3, pp. 160b174) in 2016. The contribution, entitled A'Symbolic'Algorithm'for'the'Computation'of' Periodic' Orbits' in' NonILinear' Differential' Systems, deals with a method for the computation of periodic orbits in nonb linear differential systems, by using an adaptation of the PoincarébLindstedt technique. The project was also exhibited in the Juan GilbAlbert Institute as an art project. The aim of this talk is to analyze the context of the project, and then to identify the different levels of meaning in the project, as a critique to the system of Science and Art. Finally, we establish some connections between the project and some other contemporary art works.
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Estrategias narrativas de campo expandido y manipulación digital en la obra NEVER ODD OR EVEN. Una maniobra de posicionamiento
(Editorial Universitat Politècnica de València, 2017-10-23) Artero Flores, Javier
[EN] The present communication is focused on the analysis of the work NEVER ODD OR EVEN. A positioning operation, an audiovisual installation carried out specifically for the collective exhibition. What do the contemporary Andalusian artists feel and think?, in the CAAC, in Seville. With the question that gives the title to the exhibition as an antecedent, formulated by the curators there, the project that I show deals with issues related to the antagonistic and the resistance. These are concepts with an historical and multidimensional character especially activated nowadays. In this way, the spatial configuration of the installation is studied. It consists in a device with three projection screens unfolded throughout the space, where a possible sequence of events is presented, fragmented at the same time the observer is moving along the room. Narrative strategies, therefore, typical from the so called expanded field practices where the presence of the observer in the shown space is decisive. With this, it is expected to apply a resistance to the traditional lineal narrative structure. Likewise, special attention is paid to the procedural nature of the project because the reflection that is proposed makes sense with the walk and the interpretation of the pictures and events that take place along it. Finally, once we have begun with the videographic register of the leisure and consumption events typical from the seascape, the creative process goes through a digital manipulation of those movement]pictures. In this way the original sense remains undermined. It is through this turn, near to the fake practices, that the relationship between the project and the observer is in crisis, proposing a questioning of the exposed pictures with the aim of rethink their codes.
Access status: Abierto ,
Inframedia: barreras infraestructurales y ecologías online en la web 2.0
(Editorial Universitat Politècnica de València, 2017-10-23) Sanchez Lopez, Jose
[EN] Collective Intelligence and our notion of glocal position depend closely on the large existing media available on the Internet (search engines, social media, wikis…). Its digital origin and its dependency on computer science allow them to take different forms with specific relation to software design. That stated, it is important to underscore this situation encompasses our limited knowledge and phenomenological contact with the infrastructure that supports them. This presentation works as a snapshot of an ongoing personal research about networks and visibility, whose main goal is to provide a theoretical context for the future development of a new media artistic project. The whole idea revolves around some topics that focus on the notion of interface being the visible part of an infrastructure complex. The analysis is structured around four main themes 1. Evaluation of the abstraction layers that techno-material “life” of the networks architecture, protocols and algorithms are made of. 2. The dual meaning of “collective”, when it comes to online interaction creation of contents by users and how this oscillate between the commons production and data collection. 3. Attention to the concept coined by James Bridle “New Aesthetics” and how the digital became autonomous in referring reality in its own terms. 4. The impact of this digital context on artistic contemporary strategies, from counter-design to complicity.
Access status: Abierto ,
Contradicciones del arte post-digital. Neomaterialismos vs. infinitud
(Editorial Universitat Politècnica de València, 2017-10-23) Porras Soriano, Álvaro; López Cleries, Gloria
[EN] This statement is trying to think about the paradigm of a new neomateriality determined by the postinternet practices and the post-digital scene. By that way, this neomateriality is questioning the parametres that mark its own definition. At the conceptual artistic practices of the 60’s, considered the beggining of the digital art lineage, the immateriality was acceptated as a study object towed to the interaction and to the conceptual process. Owing to that alliance, the inmaterial was treated as a infiniteness reflect, as a warning of the self-finitness. At the post-digital context, it derives to a continuous mirrored relation with yourself enrrolled in its own way, in an anachrinistic continuity, where the rift with the infiniteness perception that people had while the humanistic world collapse happens. This estrangement is defined by the formalist pluralist processes in which the neoconceptual practices of the 80’s were wrapped while they pretending to flee of the hybird and eclectic trend of 70’s conceptual art.

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