Los nuevos territorios de la gráfica: imagen, proceso y distribución

La gráfica se encuentra en un proceso de simbiosis con la cultura visual en el que la tecnología de la imagen, la descentralización de la matriz y la adaptación del formato expositivo se funden con el resto de las actividades artísticas. El análisis de las comunidades formadas alrededor de esta práctica configura un puzzle, aparentemente bien encajado, que se divide entre el formalismo y el conceptualismo y entre la idea y el proceso. Las bienales y trienales, a la vanguardia del discurso, cuestionan cualquier concepto que se haya podido asentar con solidez: ante la decadencia del proceso artesanal el mensaje se profundiza nutriéndose de la invectiva provocada por las contradicciones sociales, territoriales y medioambientales para convertirse en un reflejo de la sociedad contemporánea. Comprender la gráfica actual pasa por un ejercicio de aperturismo y un proceso de adaptación al cambio técnico e iconográfico de los sectores implicados. El grabado es ahora un territorio en el que la integración de todas las artes permite cruzar sus fronteras con fluidez.

Vis-á-Vis-á-Vis. The Three-dimensional and artistic view of a problem

ANPO (A Non-predefined Outcome) is an an art-making methodology that employs structuralist theory of language (Saussure, Lacan, Foucault) combined with Hegel’s dialectic and the theory of creation of space by Lefebvre to generate spaces of dialogue and conversation between community members and different stakeholders. These theories of language are used to find artistic ways of representing a topic that community members have previously chosen. The topic is approached in a way that allows a visual, aural, performative and gustative form. To achieve this, the methodology is split in four main steps: step 1 ‘This is not a chair’, Step 2 ‘The topic’, Step 3 ‘ Vis-á-vis-á-vis’ and step 4. ‘Dialectical representation’ where the defined topic is used to generate artistic representations.The step 1 is a warm up exercise informed by the Rene Magritte painting ‘This is not a Pipe’. This exercise aims to help the participants to see an object as something else than an object but as a consequence of social implications. Step 2, participants choose a random topic and vote for it. The artist/facilitator does not predetermine the topic, participants are the one who propose it and choose it. Step 3, will be analysed in this publication and finally step 4, the broken down topic is taken to be represented and analysed in different ways. 

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.

PRESENTE, um projeto de futuro sobre o passado

No Monumento Nacional aos Combatentes do Ultramar, em Belém, encontram-se dispostos por ano e ordem alfabética os nomes dos militares mortos nesse conflito que durou treze anos. Este enunciado é o ponto de partida para um projeto artístico que, não sendo construído fisicamente a partir de fontes documentais ou de artefactos relacionados com os factos históricos, se irá desenvolver com base em premissas conceptuais no sentido de despoletar a partilha dessa memória. Este projeto artístico é, em si, a criação de um novo documento que olha o passado e o procura projetar no futuro com base no momento “PRESENTE”. Nesta comunicação propomo-nos, metodologicamente, discutir o processo de construção de um projeto artístico que, com a atribuição do prémio Bolsa Estação Imagem | Mora 2014 dará origem a uma exposição pública e à publicação de um livro relacionando-o com um conjunto de possibilidades que questionam as potencialidades que a área da criação artística dispõe para contaminar as questões da musealização de forma a contribuir com o despontar de novas abordagens e narrativas nas práticas da materialização de exposições como médium e lugar de criação artística. Através da consideração processual deste projeto procuramos atingir o significado da memória nos processos de mediação artística onde as imagens renunciando à possibilidade de serem simulacro ou fantasmagoria, simbolizam cada coisa e o seu contrário, abeirando-se da não representação e, neste limite, qual o papel do museu nessas práticas de mediação.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.

Artistic rendering of the visual cortex

In this paper we explain the processing in the first layers of the visual cortex by simple, complex and endstopped cells, plus grouping cells for line, edge, keypoint and saliency detection. Three visualisations are presented: (a) an integrated scheme that shows activities of simple, complex and end-stopped cells, (b) artistic combinations of selected activity maps that give an impression of global image structure and/or local detail, and (c) NPR on the basis of a 2D brightness model. The cortical image representations offer many possibilities for non-photorealistic rendering.

Somewhere near reality: artistic portrayal of violence in post WWII British realistic drama

ABSTRACT - I will explore and present the portrayal of violence in some British plays that were staged between 1951 and 1965, in order to discuss the role, impact and aim of its representation. Thus, I will consider John Whiting’s Saint’s Day (1951), Ann Jelicoe’s The Sport of my Mad Mother (1956), Arnold Wesker (Chicken Soup with Barley (1958), Harold Pinter’s Birthday Party (1958), David Rudkin’s Afore Night Come (1962) and Edward Bond’s Saved (1965). My aim is to discuss the way how theatre in the post WWII changed the traditional ways of representing violence. On one hand, violence and reality became more and more familiar and domestic, permitting a representation of multiple and non-agonic violence; and, on the other hand, the violence that was depicted often changed the way one perceived reality itself, being part of a socially engaged artistic attitude.