De artista a andragogo. Experiencias educativas de docencia no reglada en cursos dirigidos por artistas contempor��neos.

This article focuses mainly on identifying innovative andragogical experiences and educational links established between contemporary artists and university students outside the formal teaching. Its structure consists of an introduction that defines the theoretical and contextual framework, the objectives pursued, the methodology and analytical development results. The analysis of educational concepts, resulting in the kind of knowledge and artistic andragogic, conceptually form a generative teaching in the context of non-formal teaching. Delimiting the complex responsibilities of university professors, linked to Art, through analysis of experiences in higher education andragogic which, initially part of the model of ���artist educator��� (Barrett, 1995; Laferri��re, 2000), plunging into the innovative and alternative educational settings that are currently the compliance with the declaration of 2009 as the International Year of Creativity and Innovation.

Desarraigo y experiencia: Lecturas sobre Paul Ricouer y Philipe Claudel

We often wonder what is the role or the role that intellectuals, academics and artists can play in countries and conflict environments, for this specific case, countries and environments that do not have real protection both its integrity and satisfaction their basic and special needs. Beyond establishing what mode as artists, intellectuals and academics can contribute to meeting these requirements, this article is intended to establish a position on the importance acquired symbolic forms and reflected in the writers regardless whether philosophers or writers, let put the rawness of what happens and there comes the lonely spirits whose loneliness imposed and caused never chosen, appears to them as a lifestyle. For Philippe Claudel and the case of Paul Ricoeur, they are thus chosen for this article as incessant dialogues of the ways in which the rootlessness provides food for thought especially for those we see as different titles you are assigned to experiences of violence.

La capilla del Cristo de las Descalzas Reales de Madrid: arte y liturgia en el siglo XVI

Estudio de la capilla del Cristo de las Descalzas Reales de Madrid que analiza la historia de la obra, sus aspectos art��sticos y su significado. Las circunstancias de la fundaci��n del monasterio explican la funci��n de la capilla como escenario de las especiales ceremonias lit��rgicas del Viernes Santo y del Domingo de Resurrecci��n instauradas en raz��n de su origen, lo que permite asimismo fijar su ejecuci��n entre las obras de su etapa fundacional, probablemente entre 1560 y 1565, dise��ada por artistas de los talleres reales. Se aporta noticia documental sobre Diego de Urbina y Juan de Cerecedo como pintores al servicio de Juana de Austria en ese momento.

The "Art" of Criticism: Rub��n Dar��o and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries ���discarding categories such as ���influence���, ���exotism��� and ���ivory tower���, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rub��n Dar��o published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Dar��o by the end of 1895 work as a visual counterpoint of the eccentric writers��� biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early ���salon���, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition ���now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

La narrativa indigenista en Argentina. Una doble denuncia

Desde tiempos de Jos�� Carlos Mari��tegui, la cr��tica literaria indigenista viene articulando un discurso etnocentrista cuyo eje de producci��n se sit��a en Per�� y los pa��ses vecinos, pero rara vez se ha mencionado una obra argentina que trate sobre las desigualdades que sufren los ind��genas de ese pa��s. Ni siquiera la academia argentina ha analizado ninguna novela desde la ��ptica indigenista.En un pa��s cuyos gobiernos, desde el siglo XIX, han tratado de borrar cualquier traza de sangre ind��gena en su poblaci��n, ya sea mediante la asimilaci��n, exterminio o invisibilidad, y cuyas zonas de mayor asentamiento ind��gena se encuentran lejos del hegem��nico Buenos Aires, las narraciones de problemas sociales ajenos quedaban encajonadas en el rec��ndito mundo de la literatura regional.Sin embargo, durante los a��os de eclosi��n del movimiento indigenista, escritores argentinos se hicieron eco de los sufrimientos y demandas de sus compatriotas ind��genas por medio de novelas que sobrepasaron el peyorativo ep��teto regionalista y que incomprensiblemente, han sido olvidadas.En este art��culo, que forma parte de un estudio m��s amplio, se aborda el silencio cr��tico, se contextualiza la producci��n indigenista de la ��poca y se analizan brevemente algunas de las obras.

Approaches of the Action Art in early childhood Education. Some other ways of interrelation within the educational system

This Artistic research project was created in order to test how to put into practice approaches between Contemporary Art and University daily life. In this particular case, between Action Art and the students at the Early Childhood Education University in Alicante. The generalized lack of awareness about changes which took place in Art in the XX century, demonstrates the lack of interest on the part of students about Contemporary Art, and therefore, it is still remarkable, the distance between Art and life. Thus, as artists and teachers, the chance to carry out specific experiments is open within everyday educational life. Therefore, through Action Art a communicative interaction is possible to be achieved as an active learning process and, in such way, change the usual existing relationships in a predetermine context, creating this way, future Contemporary Art consumers and transmitters.

Light-color and body-mass. The subjectivity of the Argentinean nation, according to the painting of P��o Collivadino

P��o Collivadino was a highly recognized painter in life, occupying the most important charges in the artistic field and receiving awards in his country and abroad, which turned him into an inescapable reference of young Argentinean artists who earned recognition throughout the twentieth century. Why, then, with the time, his work began to fall to the wayside? In response to this question, the present article, based on the analysis of the work of that artist, proposes to problematize the notion of subjectivity, both in its individual dimension and its national character, underlining the role that the figure of the artist meets for its formation. Developing the concepts of light-color and body-mass, from Collivadino painting, this article will attempt to explain the relation between the emergence of an Argentinean subjectivity, at the beginning of 20th century, and the art, not only at the level of the issues addressed, but, especially, taking into consideration its formal characteristics.

Rethinking the identity artist-researcher, from the project ���Dialogues with women art teachers���

The questioning of identity and the various roles that artists have begun to explore, from the last century, are fundamental aspects in this article. Today it is difficult to speak of the artist as individual isolated innate talent working in his studio, but the various social, political and cultural effects, have moved the artists to become part of the social world and to generate artistic practices that visualize and manifest critically these concerns. To explain these transits deeper, we will share part of the personal artistic practice and reflections, and how it has begun to intertwine with the doctoral research, through the art project ���Dialogues with women art teachers���. From the experience as an artist and researcher in training, we will share what this project of artistic inquiry is about and reflect their points with the notion of `artistic practice as research�� developed by Graeme Sullivan (2010, 2011). On the other hand, we will seek to reflect how the identities of `artist�� and `academic�� are in constant dialogue. This art project seeks to show that these identities are not in a fixed position, but rather reflect, from the place of an artist, how through the various shifts in different disciplines, can conceive an identity ���in-between���. The latter refers to the ability to understand the processes of being a woman, artist and researcher who travels and forms its identity among both disciplines.

About infamy: the filthiness of Art and its diogenic disease

In this paper, we postulate the direct relationship that exists between waste production and artistic objects; its manufacturing system, consumption, and subsequent waste. What arises in this relationship then, is another character of interest ���and that will serve as a reference to compare its modus operandi with the place of artists and the arts���, in this sick world, the Diogenes. The obsessed that lives among the garbage. The absurdity of the conquest of the infinite of the illogical within the logical. The amount clouded and blinded, nothing is enjoyed, nothing is appreciated; the countless abandons its place in the memory ���memorable��� and there only exists a pathological accumulation, mountains of garbage, desires to hold on to vital faith of the belief of doing Something for themselves. Working just to work and building something that will not last, like a sand castle, accumulation of detritus and dust. A new logic is born, the enjoyment of diseases and emptiness, the destruction of a world without a history. ��Artists of the world, abandon! You have nothing to lose but your own professions!�� (Kaprow, 2007, p. 37).

Ai Weiwei: La recepci��n de su producci��n art��stica

Actualmente Ai Weiwei es el creador con mayor proyecci��n dentro y fuera de China, destacando especialmente por su prol��fica, heterog��nea, comprometida y pol��mica producci��n art��stica. Sus propuestas suscitan un gran inter��s y obtienen una destacada repercusi��n tanto en China como en un escenario internacional. Precisamente, es uno de los artistas contempor��neos chinos que ha logrado una mayor presencia en los medios de comunicaci��n y en los espacios expositivos espa��oles, siendo un ejemplo de ello la organizaci��n de la primera exposici��n muse��stica de su obra en el Centro Andaluz de Arte Contempor��neo (2013) y el estreno de la pel��cula documental sobre su vida y su obra Never Sorry (2013), dirigida por Alison Klayman. Ai Weiwei es un autor medi��tico y su visibilidad deviene una plataforma desde donde articular proyectos art��sticos que enfocan determinadas problem��ticas sociales. A la vez, la cr��tica pol��tica de Ai Weiwei resulta especialmente atractiva en un contexto euroamericano que subraya su papel de disidente y agitador. Dentro de tales par��metros se ahondar�� en la recepci��n de la producci��n art��stica de Ai Weiwei en el marco internacional y en el contexto espa��ol, analizando la aproximaci��n que la prensa esboza sobre dicho autor.

Women artists of the international avant-garde: the case of "Abstraction-Cr��ation" (1931-1936)

Women���s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Cr��ation, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group���s annual magazine, abstraction cre��tion art non figuratif (1932-1936), and who participated in a number of the group���s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women���s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women���s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.

The use of cues for attention in ancient Greek art: aspects that influence concentration in the work of art and its elements

The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention���s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.

Los primeros pasos en el escorzo de la figura humana. "Un an��lisis desde la geometr��a"

A trav��s de un recorrido hist��rico centrado en el Renacimiento, se exponen las aportaciones m��s significativas de te��ricos y artistas en la evoluci��n del escorzo de la figura humana desde un punto de vista geom��trico. Los artistas que con sus dibujos y escritos ayudaban a otros en el aprendizaje de la representaci��n, se apresuraron a incluir el estudio del escorzo en sus tratados, buscando m��todos que facilitaran su dibujo sobre cualquier soporte y en cualquier posici��n en el espacio. En este art��culo se analizan y enlazan los trazados propuestos por los estudiosos de la geometr��a, con las obras de arte que reflejan importantes avances en este sentido. Soportes como el lienzo, el muro o la b��veda, presentan al pintor superficies diferentes de trabajo y en distintas posiciones en el espacio. La figura humana, protagonista en la escena, tendr�� que adaptarse a ellos para ser contemplada desde unos espacios arquitect��nicos cada vez m��s amplios y con m��s posibilidades. Fue necesario dominar la perspectiva en la pintura, y muy particularmente en la mural, para ofrecer composiciones cada d��a m��s ambiciosas y sorprendentes.

El artista contempor��neo ante la transformaci��n de su obra. El paso del tiempo y su efecto sobre la significaci��n de la materia

El paso del tiempo tiene una repercusi��n inevitable sobre las obras de arte. En el caso del arte contempor��neo muchos de los valores est��ticos, culturales o sociales presentes en las mismas, est��n vinculados a la apariencia y al uso premeditado de la materia. La transformaci��n de la materia tiene una repercusi��n sobre la intenci��n y el discurso est��tico, por ello, y ante la imposibilidad de impedir el cambio, se hace necesaria una profunda reflexi��n sobre el concepto de autenticidad de la obra de arte y sobre el concepto de ruina prematura. Por otro lado, gracias a la figura del artista contempor��neo es posible documentar la producci��n actual para determinar si la mutaci��n de la materia afectar�� a lo esencial en las obras. En este sentido, el trabajo ha conseguido concretar, para el caso de varios artistas fundamentales del panorama espa��ol, qu�� aspectos deben, por ser esenciales, permanecer inmutables con el paso del tiempo.

Primitivismo y Feminismo en el arte contempor��neo

Para la mentalidad colonialista del siglo XIX la raza negra estaba provista de una extraordinaria sexualidad y lujuria. En la metr��polis el equivalente era la mujer sexuada, la prostituta. En los primeros a��os del siglo XX este t��ndem, prostituta-colonizado, sirve a los artistas vanguardistas como elemento de confrontaci��n con la moral imperante. Son las artistas mujeres, con una intenci��n feminista, quienes principalmente utilizan el primitivismo asociado a la mujer en su cr��tica a los estereotipos. Figura pionera en ello es Hannah H��ch, especialmente en su serie De un Museo Etnogr��fico, en el que asocia figuras femeninas y objetos de arte primitivo. En los a��os 70 del siglo XX, algunas artistas de la performance, como Carolee Schneemann o Ana Mendieta reivindican el cuerpo femenino con el significado de Origen y Fertilidad que tiene en las culturas primitivas. En este mismo contexto puede inscribirse la escultura Maman de Louise Bourgeois. El elemento de cr��tica social, que est�� vigente a��n en nuestros d��as, puede verse en las obras de las Guerrilla Girls.