No hay espectadores

Conferencia y debate posterior con Pablo España, integrante, junto a Iván López, del colectivo Democracia, operativo artístico de intervención social de gran relevancia nacional e internacional. La sesión versó sobre diversas obras de intervención social de este colectivo a lo largo de diferentes ciudades del mundo. DEMOCRACIA mantiene una línea de trabajo de marcado interés por la intervención en el ámbito de lo social, a través de planteamientos comprometidos con lo real. Sus proyectos responden a una preocupación sobre la progresiva escenificación de los ámbitos de convivencia, visible, no sólo en la importancia, cada vez mayor, de la imagen, sino también en la paulatina incorporación del simulacro a diversos campos de la vida cotidiana, tales como la política, la tecnología o la cultura. Democracia trabaja también en la edición (son directores de la revista Nolens Volens) y en el comisariado (No Futuro, Madrid Abierto 2008, Creador de Dueños, Arte Útil). Fueron fundadores y miembros del colectivo El Perro (1989-2006).

Prácticas artísticas como procesos sistémicos

Conferencia y debate con Ramón Parramón, Director de ACVIC, Centre d’Arts Contemporànies de Vic (2010), y Director y fundador de IDENSITAT (desde 1999), proyecto colectivo desde el que vehicula su práctica como artista. La sesión estuvo centrada en las distintas facetas que el programa IDENSITAT desarrolla desde su fundación a finales de los 90's, siempre entendiendo como campo de trabajo artístico el territorio social y físico. Por tanto, el cruce disciplinar y profesional para la producción de operativos de intervención social y territorial se explicaron como ejes de trabajo posible para un artista. Ramón Parramón ha dirigido también el Máster en Diseño, Arte y Espacio Público Elisava-UPF (2000-2010). En 2005 fue comisario de Madrid Abierto y de 2005 a 2010 formó parte de su comisión asesora. Ha comisariado varias exposiciones como Artesanos, construcciones colectivas del espacio social (La Capella, Barcelona) Catalizadores (Arts Santa Mònica,Barcelona), Ciudades Intervenidas (La Capella, Barcelona), Apamar: Gráficas, Métricas y Políticas del Espacio (ACVIC). Ha participado y organizado varios seminarios, talleres y foros de debate sobre arte y espacio social. Ha editado varias publicaciones como Mecanismos de Porosidad (EUMO Editorial / ACVIC, 2013), Catalizadores (Arts Santa Mónica / EUMO Editorial, 2010), Acciones Reversibles. Arte, Educación y Territorio (EUMO Editorial / ACVIC, 2010), Local / Visitante. Arte y creación contemporánea en el espacio social (Idensitat, 2010), o Arte, experiencias y territorios en proceso (Idensitat, 2008).

O contributo da arte participativa, para as práticas de organização do espaço público: "Um caso de estudo na freguesia de Cedofeita no Porto"

O presente projecto pretende analisar o factor participativo da arte praticada em espaço público na cidade do Porto, enquanto estímulo de transformação dos contextos socioculturais. A partir da criação do projecto prático Imagin’OPorto e da respectiva implementação de um conjunto de iniciativas contextuais na Freguesia de Cedofeita da cidade do Porto, pretende-se reactivar o papel activo do cidadão no espaço público. Esta forma de investigação, executada através de um formato prático, permitiu a criação de obras artísticas permanentes nos espaços públicos desta zona da cidade, de modo a focar o estudo num conjunto de novos conceitos e mudanças de paradigmas que estão associados a este tipo de expressão artística. Esta prática teve o objectivo de contribuir para a dissolução de barreiras entre diferentes grupos urbanos, promovendo a sua coexistência, bem como também potenciar o debate entre os cidadãos e instituições, sobre a utilização do espaço público.

Misiones y sermones del P. Pedro de Calatayud, maestro de teología,y misionero apostólico de la Compañia de Jesús, de la provincia de Castilla, arte y método con que las establece : las quales ofrece al público en tres tomos para mayor facilidad y expedición de los ministros evangélicos, parrocos y predicadores en misionar, doctrinar y predicar, y para mayor fruto y bien espiritual de los proximos

UANL

El arte de hablar en público : estudio psicológico del orador

UANL

Nuevas escenas, otros espacios: espacio público y "Arte Acción" en Quito

El tema del manejo y uso del espacio público en la urbe contemporánea ha sido objeto de las más variadas reflexiones. En el caso de la ciudad de Quito, ésta se presenta como un escenario de desencuentros y un exacerbado centralismo. En un intento de mediar la utilización del espacio público y establecer prácticas que convoquen a la comunidad a ser actor real dentro del espacio ciudad, aparecen manifestaciones creativas. El presente trabajo realiza una revisión de diferentes ejercicios estéticos que se han insertado en la urbe, sean éstos realizados por artistas individuales, colectivos o enmarcados dentro de los 'llamados encuentros de arte urbano. Este aporte investigativo pretende ser, una tarea de sistematización y periodización de aquellas expresiones artísticas que han transitado la ciudad de Quito de la mano del "arte acción" y el "arte urbano." El análisis de estas iniciativas se ha planteado en relación al diálogo con el entorno y la capacidad de insertar a sectores excluidos de los tradicionales circuitos del arte en procesos relacionales con los habitantes. Estas prácticas replantean incluso la funcionalidad del arte en la urbe contemporánea. Por otra parte, esta esfera procesual y creativa incluye una serie de estrategias para lograr la consecución de estas obras: una negociación permanente con los habitantes, la institucionalidad, y el espacio público; negociación que sin duda nos lleva al terreno de la llamada gestión cultural. Puede decirse que tres ejes duales guían la presente reflexión: espacio públicociudad, arte-comunidad y gestión cultural-ciudadanía.

Percepção Ambiental em Museus Paisagens de Arte Contemporânea: a legibilidade dos museus Inhotim/Brasil e em Serralves/Portugal avaliada pelo público/visitante

This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment

Arte pública: fundamentos do discurso público da Arte

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

As imagens ds instalações interativas: uma abordagem sobre os modelos de solicitar a participação do público na obra de arte

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Projeto dança-cidadã: uma articulação da Cia Estável de Dança de Bauru, poder público e comunidade na promoção da arte-educação

In recent years, the concept of art education has been changing substantially the artistic and cultural education in the Brazilian educational system, particularly in relation to the formation of a critical awareness and practice of citizenship. In this process, the Community Public Relations and Public Communication excel in fostering alliances between government and community. Based on literature review and authors debates, such as Geertz, Santos, White, Freire, Araujo, Barbosa, Kunsch e Peruzzo. Besides the analysis of important materials, official documents and Brazilian projects involving art, culture and education, such as Research-Action Report 2013, the National Plan for Culture, the National Education Plan and the Municipal Act 6119; this paper seeks to explicit this affirmation, assuming the social transformation aiming a full citizenship, as a motivational factor. In this paper we also present a plan that includes a project in art education for the Stable Dance Company and the public elementary schools in Bauru SP

Análise do processo de formação como mediadora entre o público e a arte

The proposed work is located in education field in exhibition spaces of art and seeks to analyze a process of formation as a mediator focusing on the public's relationship with art, taking into account the fact that often the general public does not dominate the codes of this area, being incumbent upon mediator introduce them. One of the main points to be analyzed is the impact that can be generated by the contact of the visitor with the mediator in the exhibition space, considering a spectrum of possibilities, where at one end focuses the belonging and in the other the symbolic violence. In this direction this research aims to build a relationship of emancipation and autonomy of both, the educator and the visitor. It is known that the concept of public is a generalization, therefore, the analysis of the mediation process, are having as support the experiences lived by the mediator, especially, in the relationship with the lay public. The locations of the experiences lived, were the SESC Pompéia and the Pavilion of the Bienal of São Paulo, different places, but both with the potential to generate reception and / or distances, shot through space (architecture), bodies, codes, accesses, works of art, repertoires, expographic and especially through the mobilization of educator front of all these issues. The cutting of the research covers the experience of the educator (as an intern and professional) in six exhibitions, in these two spaces, between the years 2010 to 2015.

Análise do processo de formação como mediadora entre o público e a arte

The proposed work is located in education field in exhibition spaces of art and seeks to analyze a process of formation as a mediator focusing on the public's relationship with art, taking into account the fact that often the general public does not dominate the codes of this area, being incumbent upon mediator introduce them. One of the main points to be analyzed is the impact that can be generated by the contact of the visitor with the mediator in the exhibition space, considering a spectrum of possibilities, where at one end focuses the belonging and in the other the symbolic violence. In this direction this research aims to build a relationship of emancipation and autonomy of both, the educator and the visitor. It is known that the concept of public is a generalization, therefore, the analysis of the mediation process, are having as support the experiences lived by the mediator, especially, in the relationship with the lay public. The locations of the experiences lived, were the SESC Pompéia and the Pavilion of the Bienal of São Paulo, different places, but both with the potential to generate reception and / or distances, shot through space (architecture), bodies, codes, accesses, works of art, repertoires, expographic and especially through the mobilization of educator front of all these issues. The cutting of the research covers the experience of the educator (as an intern and professional) in six exhibitions, in these two spaces, between the years 2010 to 2015.

Arte, política y espacio público a fines de los '60

Fil: Bugnone, Ana. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Arte, política y espacio público a fines de los '60

Fil: Bugnone, Ana. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Arte, política y espacio público a fines de los '60

Fil: Bugnone, Ana Liza. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.