The "Art" of Criticism: Rubén Darío 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 Rubén Darío 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 Darío 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.

The circle in the relationship between space and body. Photo-essay based on Isidro Blasco and the BAPNE method

This article demonstrates a visual study on the educational space in which the teaching of body percussion is carried out in universities. The methodological framework is chosen by the Visual Arts Based Educational Research, using the work of an artist as a conceptual and methodological model. The research remains notable (1) due to the theoretical reference to the BAPNE method, (2) due to the visual reference to the work of Isidro Blasco – especially with the piece “Shanghai Planet 2009” - ;(3) due to the parallelisms established between the object of study in this investigation -the spatial analysis- and the focuses of interest revealed by the art critics in relation to the work of this artist. By means of a visual speech formed with 7 photo-collages the relationship between body and educational space is visualized in the basic disposition of circular learning. The visual constructions by way of photo-collage and their aesthetic charge brings us closer to the intimacy of the educational space, in the style in which it is distributed to the students in the music classroom, the materialization of interpersonal relationships, the occupied and empty volumes.

The photography and the motion landscape in the urban expressway

A new kind of photographic representation, called movement-image is proposed and discussed to record the visual experience of the journey through urban highways. It consists of performing long exposure photographic shots while the track is traversed, thus registering a time-panorama which includes landscape signs and inner spaces of the ways involved. This proposal is linked to the limitations of representing these expressways, if they are understood as structures of instrumental origin, where the resulting experience comes from moving at high speed through the territory. In al almost all cases the aesthetic approach or urban integration with the city and landscape are excluded. In this sense, although such structures may be an opportunity to collect, build and colonize the urban landscape, the lack of adequate representation of the phenomenon causes a difficulty in its understanding and transformation. The options for representation using photography is assumed, knowing its own particular tradition in the use of long exposures, for the expression of the mobile, and the multiple visual attention, divided or weakened.

Ai Weiwei: La recepción de su producción artística

Actualmente Ai Weiwei es el creador con mayor proyección dentro y fuera de China, destacando especialmente por su prolífica, heterogénea, comprometida y polémica producción artística. Sus propuestas suscitan un gran interés y obtienen una destacada repercusión tanto en China como en un escenario internacional. Precisamente, es uno de los artistas contemporáneos chinos que ha logrado una mayor presencia en los medios de comunicación y en los espacios expositivos españoles, siendo un ejemplo de ello la organización de la primera exposición museística de su obra en el Centro Andaluz de Arte Contemporáneo (2013) y el estreno de la película documental sobre su vida y su obra Never Sorry (2013), dirigida por Alison Klayman. Ai Weiwei es un autor mediático y su visibilidad deviene una plataforma desde donde articular proyectos artísticos que enfocan determinadas problemáticas sociales. A la vez, la crítica política de Ai Weiwei resulta especialmente atractiva en un contexto euroamericano que subraya su papel de disidente y agitador. Dentro de tales parámetros se ahondará en la recepción de la producción artística de Ai Weiwei en el marco internacional y en el contexto español, analizando la aproximación que la prensa esboza sobre dicho autor.

Women artists of the international avant-garde: the case of "Abstraction-Création" (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-Création, 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 creátion 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.

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.

El artista contemporáneo ante la transformación de su obra. El paso del tiempo y su efecto sobre la significación de la materia

El paso del tiempo tiene una repercusión inevitable sobre las obras de arte. En el caso del arte contemporáneo muchos de los valores estéticos, culturales o sociales presentes en las mismas, están vinculados a la apariencia y al uso premeditado de la materia. La transformación de la materia tiene una repercusión sobre la intención y el discurso estético, por ello, y ante la imposibilidad de impedir el cambio, se hace necesaria una profunda reflexión 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 contemporáneo es posible documentar la producción actual para determinar si la mutación de la materia afectará a lo esencial en las obras. En este sentido, el trabajo ha conseguido concretar, para el caso de varios artistas fundamentales del panorama español, qué aspectos deben, por ser esenciales, permanecer inmutables con el paso del tiempo.

Wave action modifies the effects of consumer diversity and warming on algal assemblages

To understand the consequences of biodiversity loss, it is necessary to test how biodiversity-ecosystem functioning relationships may vary with predicted environmental change. In particular, our understanding will be advanced by studies addressing the interactive effects of multiple stressors on the role of biodiversity across trophic levels. Predicted increases in wave disturbance and ocean warming, together with climate-driven range shifts of key consumer species, are likely to have profound impacts on the dynamics of coastal marine communities. We tested whether wave action and temperature modified the effects of gastropod grazer diversity (Patella vulgata, Littorina littorea and Gibbula umbilicalis) on algal assemblages in experimental rock pools. The presence or absence of L. littorea appeared to drive changes in microalgal and macroalgal biomass and macroalgal assemblage structure. Macroalgal biomass also decreased with increasing grazer species richness, but only when wave action was enhanced. Further, independently of grazer diversity, wave action and temperature had interactive effects on macroalgal assemblage structure. Warming also led to a reversal of grazer-macroalgal interaction strengths from negative to positive, but only when there was no wave action. Our results show that hydrodynamic disturbance can exacerbate the effects of changing consumer diversity, and may also disrupt the influence of other environmental stressors on key consumer-resource interactions. These findings suggest that the combined effects of anticipated abiotic and biotic change on the functioning of coastal marine ecosystems, although difficult to predict, may be substantial.

Consistent effects of consumer species loss across different habitats

Our knowledge of the effects of consumer species loss on ecosystem functioning is limited by a paucity of manipulative field studies, particularly those that incorporate inter-trophic effects. Further, given the ongoing transformation of natural habitats by anthropogenic activities, studies should assess the relative importance of biodiversity for ecosystem processes across different environmental contexts by including multiple habitat types. We tested the context-dependency of the effects of consumer species loss by conducting a 15-month field experiment in two habitats (mussel beds and rock pools) on a temperate rocky shore, focussing on the responses of algal assemblages following the single and combined removals of key gastropod grazers (Patella vulgata, P. ulyssiponensis, Littorina littorea and Gibbula umbilicalis). In both habitats, the removal of limpets resulted in a larger increase in macroalgal richness than that of either L. littorea or G. umbilicalis. Further, by the end of the study, macroalgal cover and richness were greater following the removal of multiple grazer species compared to single species removals. Despite substantial differences in physical properties and the structure of benthic assemblages between mussel beds and rock pools, the effects of grazer loss on macroalgal cover, richness, evenness and assemblage structure were remarkably consistent across both habitats. There was, however, a transient habitat-dependent effect of grazer removal on macroalgal assemblage structure that emerged after three months, which was replaced by non-interactive effects of grazer removal and habitat after 15 months. This study shows that the effects of the loss of key consumers may transcend large abiotic and biotic differences between habitats in rocky intertidal systems. While it is clear that consumer diversity is a primary driver of ecosystem functioning, determining its relative importance across multiple contexts is necessary to understand the consequences of consumer species loss against a background of environmental change.

Contribution of sewage organic matter to the diet of the common limpet near the former outflow at Blackhead, Northern Ireland

Stable isotopes (δ13C, δ15N) have been used to document the utilisation of sewage effluent in coastal marine foodwebs in a number of studies (e.g. Rau et al. 1981; Risk et al. 2009; Rogers 1999; 2003). δ13C and, especially, δ15N showed clear differences in the diet of common limpets (Patella vulgata) collected in June 2010 near the untreated sewage outfall at Blackhead, Northern Ireland and a ‘clean’ site nearby. Because sewage contains a significant portion of fossil-fuel derived compounds (Law et al. 2013), 14C measurements enabled us to estimate the contribution of fossil carbon to the effluent and to the foodweb and hence of the level of sewage contamination. The effluent was found to contain 12.2 ± x % fossil carbon on the day sampled. The modern marine carbon endmember is enriched by the discharge from the Sellafield nuclear fuel reprocessing plant across the Irish Sea (c.f. Cook et al. 2004) so 14C analyses of samples from the ‘clean’ site were needed. We found that 38.5 ±x % of the diet of common limpets collected near the sewage was derived from fossil fuel. We plan to collect samples from the same two sites in June 2014 to establish whether the 2012 relocation of the outfall, with preliminary treated discharge farther out to sea has eliminated the contamination at Blackhead

Vetus Testamentum (fin). Novum Testamentum

Ce volume a été relié avec le ms. Latin 50 pour former une bible complète (cf. Berger, Hist. de la Vulg., 401), mais il semble que ces deux manuscrits ont été réalisés séparément, à une date et par un atelier différent. (F. Avril, Dix siècles d'enluminure italienne, notice 11). Avec prologues, arguments et « capitula ». Psalmi (1) ; Proverbia (13v) ; Ecclesiastes (20) ; Cant. canticorum (22v) ; Sapientia (24) ; Ecclesiasticus (29v) ; Oratio Salomonis (42v) ; Paralip. I-II (43) ; Job (62) ; Tobias (69) ; Judith (72) ; Esther (76) ; Esdras I-II (80) ; Macchab. I-II (87v). — Evangeliorum canones (103) ; Evang. Matthaei (106), Marci (112v), Lucae (117v), Johannis (125) ; Actus Apost. (131v) ; VII Epist. canon. (142), Apocalypsis (147v) ; Concordia Epist. Pauli (153) ; XIV Epist. Pauli (154) ; Epist. ad Laodicenses (addit. du XIIe s.) (176). — Quelques leçons indiquées en marge.

Vetus Testamentum, pars.

Ce volume a été relié avec le BnF, Ms., Latin 104 pour former une bible complète, mais il semble que ces deux manuscrits ont été réalisés séparément, à une date et par un atelier différent. F. B, plusieurs notes du XIIIe siècle de mains différentes : au centre du feuillet : "Anno MCIII (sic) setagesimo IIII fu la fami per tutto lu mundu, et vauze lu tumenu de lu granu tr. XII" ; "Pahnutius humilis servus vestre sanctitatis".Au bas du feuillet : "Pahnutius humilis servus vestre sanctitatis" ; "Religioso viro venerabili abbati Santi Stephani de Nemore, salutem in Domino" ; "apnutius". F. 1, titre du XIIIe siècle : "Incipit epistula sancti Jeronimi presbiteri ad Paulinum de studio Scripturarum." Le manuscrit contient : Genesis (4) ; Exodus (20v) ; Levit. (34) ; Numeri (44v) ; Deuteron. (59) ; Josue (73) ; Judices (81v) ; Ruth (90) ; Reg. I-IV (91) ; Isaias (136) ; Jeremias (152) ; Baruch (170v) ; Jeremiae Lament. et Oratio (173, 174v) ; Ezechiel (175) ; Daniel (191v) ; XII Proph. min. (199).Avec prologues et « capitula » (sauf aux f. 90, 136, 152, 175, 192 et 199) . Quelques leçons en marge. F. 1-3v: Frater Ambrosius tua mihi munuscula perferens destulit...-... scripti sunt libri in latinum eos transferre sermonem. Explicit prefatio.F. 3v, tablesF. 4-124. "In principio creavit Deus caelum et terram ...-... et percutiam terram anathemate. Explicit Malachias propheta.

Bible

Abbaye de Saint-Victor de Paris

Vetus testamentum, pars (Genesis-Job).

Ce ms. a été légué au chapitre de Notre-Dame par Pierre du Jardin, prêtre du diocèse de Limoges et chapelain de Notre-Dame de Paris, mort en 1431, comme l'indique la note au f. 251v: "Venerabilis et discretus vir deffunctus dominus Petrus de Orto, alias dictus Mallerat, presbiter Lemovicensis diocesis, quondam cappellanus hujus venerabilis eccelesie Parisiensis, qui obiit anno M° CCCC° XXXI° die XXIII° mensis aprilis, legavit per suum testamentum supra dicte ecclesie hunc presentem librum..." (XVe s.). Au f. 1 figure l'ex-libris "A la bibliotheque de l'Eglise de Paris" (XVIIe s.). Notre-Dame.

Genèse et différents livres de l'Ancien et du Nouveau Testament.

Biblia sacra, pars.