"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

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.

The notion of space in the artistic language of Alfredo Jaar

Conceptual art and communicator role has influenced the work of Chilean architect Alfredo Jaar, which has been proposed report, with other codes [verbal and nonverbal], global events influencing contemporary society. His early training as an architect has driven innovation in the design of artistic space , using the message to convey to the viewer the reason for his work for more than three decades, highlights the artistic composition with various material resources whose purpose lies in conceptualizing various topics relevant in considering the role of artistic communication. Jaar’s style is the sum of his own life experience in relation to the contradictions of the world today, which is exposed and from the perspective of postmodernism from the exploitation of the notion of space as an open stage for visual and expressiveness beyond national borders, societies and cultures of the world.

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).