Reading of audiovisual productions of contemporary art in art education

This article focuses on the reading of audiovisual productions of contemporary art as a creative process, seeking to analyse which effects of meaning the articulations between the visual and sound systems produce, and the meaning that children give to then. It describes a video art, identifying the languages that compose it and the relationships that link them. Such reading exercise had as corpus of analysis the Chair video art, by Masaru Ozaki, and counted with the theoretical and methodological support of the discourse semiotics, especially with studies on assembly procedures that articulate visual and auditory languages. Also, it presents a focal study with the meanings that a group of children gave to the video art. The findings indicate the importance of including the reading of audiovisual productions of contemporary art at school through the problematization of effects of meaning produced by the interrelation between different languages. And they suggest some subsidies that allow teachers from different areas of knowledge to reflect about the visuality in their pedagogical practice; the choice of the audiovisual materials taken to the classroom and other ways of seeing these texts edited.

The conflict between realism and abstraction in the field of spanish art as an iteration of la "Querelle des Anciens et des Modernes"

Based on the analysis model favored by the study of the conditions in which the seventeenth century Querelle des Anciens et des Modernes took place, we examine the case of confrontation between realism and abstraction, which occurred in the context of Spanish art in the nineties of the twentieth century. Connections are established with other aesthetic conflicts which are considered part of a genealogy whose most explicit antecedent could be placed in the before mentioned complaint, such as the confrontation between realism and abstraction in the American art scene, which occurred in the fifties of the last century, and the more recent controversy on pluralism and the end of art.

La recuperaci��n mutua en personas con trastornos psicol��gicos o diversidad funcional a trav��s de la pr��ctica creativa

En el presente art��culo introducimos el concepto de ���recuperaci��n mutua��� y proponemos las pr��cticas creativas como herramientas eficientesde recuperaci��n de personas tanto con problemas de salud mental como con alg��n tipo de diversidad funcional. Frente al concepto cl��sico de ���arte-terapia��� nosotros proponemos el concepto de ���pr��ctica creativa��� como m��s compatible con el modelo de ���recuperaci��n mutua���. Para ello, en primer lugar realizamos un breve repaso cr��tico a la relaci��n del arte con la locura. Seguidamente, presentamos los conceptos hermanos de ���recuperaci��n��� y ���recuperaci��n mutua��� en el marco de lo que se ha venido a denominar las ���health humanities���. Para finalizar, describimos dos pr��cticas creativas que en la actualidad est��n siendo evaluadas en Espa��a en el contexto de un proyecto de investigaci��ninternacional en recuperaci��n mutua: Los seminarios creativos con personas con trastorno mental grave en el Museo de Arte Contempor��neo de Sevilla y el grupo de teatro con personas con diversidad funcional de la Asociaci��n S��ndrome de Down-Sevilla

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.

AUTO-RUINS. Thinks about automobile into the contemporary landscape

The article analyses the evolution of the representation of the automobile inserted in the natural and urban environment in the Contemporary Art, from the appearance of the first cars in the beginning of the 20th century until the present day. The text compares the diverse attitudes and analysis of some representative artists who have used the image of the machine in general and the car in particular in their aesthetic discourse, using as a conductive thread the metaphor of the life cycle (birth, growth, feeding, reproduction and death). It deals with the discovery, the development and the coexistence between human and the automobile and its interpretation as a basic element of the artistic work. The text connects the image of the automobile located in the contemporary industrial landscape utilizing the artist references who have integrated the car in their work inside the natural or artificial environment characteristic of each moment. At the same time, the article goes deeply into the relationship of romantic ruin and natural landscape and the evolution of the industrial and architectural modern environment, through the work of the artists who has used the car as an inhabitant of the landscape.

Artistic proposals of visual arts of Ecuador since the second half of the twentieth century to the present

This article is the result of a research that analyzes the most important artistic proposals of Visual Arts in Ecuador, since the second half of the twentieth century to the present. Through literature review and data collection held in the city of Guayaquil, we could determine their influence and impact on the circuit of contemporary art. The instruments used for data collection were depth interviews that were done to experts in the field. Like surveys of attendees at different artistic events (exhibitions, permanent exhibitions, seminars), allowed to establish the social interests of those proposals. The methodology was mixed approach, quantitative and qualitative data were used.

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.

Death Aesthetization in Contemporary Artistic Practices

Starting from the famous and enigmatic quotation of the Aristotle���s Poetics, who argues that the human has a natural desire and pleasure to see corpses if mediated by art, is intended to show the relationship between the attraction for the horror and some contemporary art practices surrounding the depiction of death, particularly with regard to the ultimate use of the human corpse as an artistic resource. Avoiding any kind of ethical approach or questioning of the limits of the artistic production, is meant to highlight the phenomenon through the examples brought out by the work of some contemporary artists such as Andy Warhol, Eric Fischl, Damien Hirst, Von Hagens, Andres Serrano, Joel-Peter Witkin and Teresa Margolles: From those who use the corpse in and turn it in something aesthetically pleasant, to others who turn human corpses in sculptures of scientific value, and further other kind of artists who assume the morbid and dramatic life of the corpse in their art production as something structural.