La projecció d'un ideal estètic durant el Noucentisme. Josep Aragay i Blanchar (1889-1973)

"La projecció d'un ideal estètic durant el Noucentisme. Josep Aragay i Blanchar (1889-1973)" es el primer estudi integral dedicat a aquest artista i teòric del Noucentisme. La tesi analitza amb profunditat la trajectòria d’Aragay com a dibuixant, pintor, gravador i ceramista, però també com a poeta, professor i polític; a més del paper que va exercir com a crític, polemista i teòric de l’art. La tesi posa de manifest la labor artística i intel•lectual d’aquest personatge que va assumir, defensar i projectar, fins el final de la seva vida, aquell ideal estètic de signe mediterraneista i classitzant, que sorgia a Catalunya a principis del segle XX.

El pintor Antoni Viladomat i Manalt (1678-1755): Biografia i Catàleg crític

La tesi és un estudi integral de la figura i l'obra del pintor Antoni Viladomat i Manalt (1678-1755), un dels artífexs més destacats del panorama artístic català del Set-cents. El primer volum aborda la revisió de la seva biografia partint de les aportacions de la historiografia i de les noves dades inèdites d'arxiu. S'hi fa també un anàlisi de la seva cultura visual i figurativa, una panoràmica sobre la relació del pintor amb el seu ambient artístic més proper i immediat, i un estudi de l'encaix de la seva personalitat artística en el context de la pintura precedent i contemporània peninsular i europea. El primer volum inclou, també, un epíleg on s'aborden temes com els detonants i les conseqüències de la seva extraordinària fortuna crítica. El segon volum és un catàleg crític de la seva obra, organitzat a partir de fitxes individuals de cadascuna de les obres. L'autor considera que dues-centes cinquanta obres conservades, comptant dibuixos i pintures, són autògrafes, quaranta-una de les quals són inèdites. El catàleg també te recull i classifica les obres descartades i les perdudes. Les principals aportacions de la tesi, a banda de l'actualització del coneixement de la seva biografia i de l'elaboració per primera vegada d'un catàleg crític complet de la seva obra, són la localització del testament del pintor, la revisió de la relació de Viladomat amb els artistes de la cort de l'Arxiduc Carles d'Àustria, la proposta d'una nova cronologia per als treballs dels anys vint del segle XVIII, una interpretació nova dels plets contra el col·legi de pintors de Barcelona, la revisió de la seva intervenció a la Capella dels Dolors de Santa Maria de Mataró, bona part de la qual l'autor d'aquesta Tesi atribueix al pintor Joan Gallart; la definició dels usos que el pintor fa amb l'estampa de traducció, la relació amb la pintura siscentista dels Juncosa o la importància de l'aprenentatge en un context tradicional, etcètera.

Josep Claret: arquitectura i societat

El gironí Josep Claret Rubira (1908-1988), arquitecte de professió i artista-dibuixant de vocació, va obtenir el títol l'any 1933, a l'Escola d'Arquitectura de Barcelona. D'ençà d'aquella data i fins a mitjan dels anys 70, va projectar una quantitat enorme d'edificis de múltiples tipologies i nombrosos plans d'urbanització, arreu de les comarques gironines i menorquines. Amb ideologia primerenca propera a les esquerres catalanistes, es va haver d'adaptar al règim franquista, per poder continuar treballant i vivint a Catalunya. Malgrat que inicialment li deuria costar un gran esforç, el procés d'amotllament el va tenir planer (almenys aparentment), gràcies al seu parentiu -per via matrimonial- amb una família que hi estava estretament vinculada. És autor d'obres d'elevat nivell arquitectònic -amb poques que siguin conegudes i reconegudes- i un clar conformador del paisatge de les seves contrades, fet influent en la societat que hi ha estat habitant i que hi viu encara avui dia. La seva arquitectura és un magnífic exemple del que agradava a les generacions de durant cinc dècades. És també autor d'obres que, moltes vegades, no s'adiuen gens amb el que la Història de l'Arquitectura dóna per bones, però que reflecteixen el gust, les preferències i les prioritats d'una societat determinada.

Casa-Museu Leal da Câmara: serviço educativo e estratégias de comunicação

RESUMO: A presente dissertação de Mestrado teve como objectivo a análise e caracterização das actividades do serviço educativo e das estratégias de comunicação da Casa-Museu de Leal da Câmara (CMLC). Partindo de um estudo de caso, pretendeu-se apresentar perspectivas futuras para o alargamento dos públicos, das actividades e das acções de comunicação na CMLC e em museus do mesmo tipo. Esta investigação incide sobre o período de 2003 a 2011, isto é, desde a criação do serviço educativo até aos dias de hoje. Para melhor conhecer o objecto de estudo torna-se necessário apresentar o artista/patrono e caracterizar o território (Rinchoa) onde se insere a CMLC, bem como a comunidade que habita no Município de Sintra. Esta comunidade, outrora chamada saloia, influenciou a obra do artista assim como as suas actividades. De modo a caracterizar o público-alvo das actividades educativas foram realizados inquéritos sobre o serviço educativo. Pretendeu-se com estes inquéritos, por um lado, conhecer o nível de satisfação do público escolar e não escolar e, por outro, aferir quais as condições que permitiriam o alargamento das actividades educativas ao público em geral. Tendo ainda por objectivo conhecer a visibilidade e os meios através dos quais o público teve conhecimento da CMLC, realizou-se o inquérito sobre comunicação. Para além dos inquéritos sobre o serviço educativo e comunicação foram ainda realizadas seis entrevistas, três das quais aos dirigentes da Câmara Municipal de Sintra directamente ligados aos destinos da CMLC e outras três entrevistas a parceiros e participantes nas actividades do serviço educativo. Após análise de todos os dados recolhidos conclui-se que o público-alvo do serviço educativo é o público escolar e que a CMLC é visitada maioritariamente pela comunidade local escolar. A maioria dos visitantes fica a conhecer a CMLC através de outros meios como a escola ou o trabalho e não através dos meios de comunicação onde a Casa-Museu é frequentemente divulgada. ABSTRACT: The aim of this Master's thesis was to analyze and characterize the activities of the educational service and communication strategies of the Casa Museu Leal da Câmara (CMLC). Starting from a case study, we have sought to present future prospects for extending the public, the activities and these communication actions from CMLC to the museums of the same type. This research focuses on the period from 2003 to 2011, i.e. (that is), since the creation of the educational service to the present day. To better understand the object of this study it is necessary to present the artist / patron and the territory around CMLC (Rinchoa) where it belongs, as well as the community that inhabits the Municipality of Sintra. This community, formerly known as rustic (saloia) has influenced the artist's work and his activities. There were conducted surveys about the educational service to further understand the target of the educational activities. This was intended to determine the level of school and non school public satisfaction with this service and the main needs for its extension to the general public. To understand the visibility and the means by which the public was aware of the CMLC an inquiry was held on the communication methods. In addition to inquiries about the educational service and communication six interviews were also carried out, three of which to the leaders of the Municipality of Sintra directly linked to the policies of the CMLC and the others to partners and participants in the activities of educational services. After analyzing all the data we have concluded that the target audience of educational services is the school public and that the CMLC is visited mostly by the local school community. Most visitors became aware of the CMLC through other means as school or workplace and not through the media where the CMLC is often released.

Jorge Velasco Mackenzie: tatuaje de náufragos es la única novela en la que me he divertido escribiendo (De la Escena Contemporánea)

El autor entrevista al narrador guayaquileño Jorge Velasco Mackenzie, quien responde sobre su oficio de escritor. Velasco sostiene que sufre con sus personajes y agoniza cuando estos mueren. Mira a Tatuaje de náufragos como un homenaje a un bar generacional, a una época y una forma de ser artista que ya no existen más, sería la autopsia de una generación y de la ciudad. Velasco sostiene que el poeta Fernando Nieto no solo fue un animador de la bohemia del Montreal, el fundador de Sicoseo, sino un hombre que sabía mucho, y un hombre generoso en lo personal, admira la posición de Nieto frente al mundo, frente a la literatura. En los escritos de Velasco siempre está Guayaquil, porque es el lugar donde nació y es el único donde puede vivir. Podría decirse que escribir sobre Guayaquil es su proyecto estético. Considera al Montreal como un lugar vivo, abierto, con sus personajes y su rocola antigua, lo evocó así toda su vida y a lo largo del libro intentó devolverle ese esplendor.

En busca del mural de Camilo Egas en la Feria Mundial de 1939 (Debates)

El artículo aborda el mural que el artista plástico ecuatoriano Camilo Egas preparó para el pabellón del Ecuador en la Feria Mundial de Nueva York, de 1939. Se revisan los detalles relacionados con la confección de la obra encargada por el Gobierno ecuatoriano y las reacciones que suscitó entre los asistentes a la exposición, funcionarios diplomáticos ecuatorianos y otras personalidades gubernamentales. Además, se describen algunos aspectos relacionados con su abandono, una vez concluida la exhibición y con la tarea de identificación de la documentación que testimonia el caso.

Architectural Fictions

Architectural Fictions was a curatorial project that brought together the work of eight artist that in different ways addressed principles of fictioning and narrative in relation to the built environment. The project brought critical focus to the narrative structures implicit in the production of space. Through dialogue with the participants, the project developed speculative critical exchange, examining questions such as the interplay between the real and the virtual and the role of design in relation to processes of habitation. Architectural Fictions formed a keynote exhibition in South Hill Park Arts Centre program. SHP is funded by the Arts Council England and is in partnership with ARC which delivers events by professionals from the field of art and culture. A public lecture about Architectural Fictions was delivered by Mary Maclean and Tim Renshaw who together make up the group Outside Architecture. Outside Architecture aims to open up speculative dialogues and images on the materials and signs that compose the texture of shared and lived in spaces.

The strength of the system and my experiences of it, was that in fact, oddly enough, it was actually a very collaborative enterprise already

Video:35 mins, 2006. The video shows a group of performers in a studio and seminar situation. Individually addressing the camera they offer personal views and experiences of their own art production in relation to the institution, while reflecting on their role as teachers. The performance scripts mainly originate from a series of real interviews with a diverse group of artist teachers, who emphasise the collaborative, performative and subversive nature of teaching. These views may seems symptomatic for contemporary art practices, but are ultimately antagonistic to the ongoing commodification of the system of art education.

Untitled (Abstraction of Labour Time/ External Recurrence/Monad)

Commissioned print. Artist of the Month Club: February, 2010. January Curator: Mark Beasley. Invisible Exports Gallery, New York. Archival Inkjet Print on metallic silver polyester, 841 x 643mm. Edition of 50 + 10ap. Subsequently exhibited in the following exhibition: 'A Unicorn Basking in the Light of Three Glowing Suns' The Devos Art Museum School of Art & Design at Northern Michigan University October 8 – November 14, 2010 Curated by Anthony Elms and Philip von Zweck

WE

Inspired by the dystopian fiction of Yevgeny Zamyatin and the minimal synthesiser music of the early 80s, London-based artist duo Pil and Galia Kollectiv are joined by Victor M. Jakeman and Ruth Angel Edwards to present popular chart hits in new versions, turning songs about 'me' and 'you' into songs about 'us', and replacing the individual 'I' with the collective 'WE'. The performance WE reveals the latent politics of the love song by annihilating its liberal subject; through the simple substitution of the plural for the singular, intimacy becomes a form of collective action and the unique the universal. Sonically, WE follows in the footsteps of bands like The Better Beatles, who sought to improve on the canon of popular music by stripping it bare, even. WE, performed at Kunsthall Oslo, Royal Standard Liverpool and ICA London, is also released on a 10" vinyl record and accompanied by a music video commissioned by Tate Britain for Tate Shots.

xero, kline & coma

xero, kline & coma is an artist run project space at 258 Hackney Road, London. It’s program, curated by Pil and Galia Kollectiv, focuses primarily on solo exhibitions by internationally established as well as emerging artists. Work by recent graduates King Conny Wobble and David Steans is being shown alongside projects like the Museum of American Art – Berlin, previously included in the Venice and Istanbul Biennales, Jeffrey Vallance, whose recent solo exhibition was at the Warhol Museum, and Plastique Fantastique, whose work has been shown at Tate Britain and the Pratt Manhatten Gallery, New York, with the aim of raising the profile of lesser known artists and allowing others to experiment with work that more institutional contexts don’t always permit. Some of the themes this program has explored have included fictional identities, a-chronological art histories and the mediation of ritual in time-based media. A commitment to critically engaged art is also central to the ethos of the space, and future shows include an exploration of unionism in art by Sophie Carapetian. As well as displaying new work, the gallery hosts events, talks and screenings. Most recently these have included meetings of the Political Currency of Art research group, a discussion and film screening dealing with the theme of ‘hostile objects’ led by Evan Calder Williams and Marina Vishmidt, a book launch for New Lines of Alliance, New Spaces of Liberty by Antonio Negri and Felix Guattari and an event dedicated to the theatre work of Slovenian art collective NSK, featuring a screening of unreleased documentation and a discussion about the future of total performance.

Modern lovers

Modern Lovers was a survey show of contemporary art practices in dialogue with modernism, bringing together established and emerging artists based in London and international artists from Berlin, Jerusalem and Zagreb. The show features video, film, installation, sculpture, music and performance work that addresses the legacy of the avant garde and the survival of its aesthetics within contemporary culture. In 1976, as punk rock was busy smashing the cultural rubble left behind by the second world war and rejecting the consumer society that had emerged from the ruins, one band bravely announced that it wanted no part in this destruction. Jonathan Richman's Modern Lovers sang about how they still loved the old world. Neither parents nor girlfriends could understand, but the decaying inner city with its false promises of progress still held a fascination for Richman, who claimed he wanted to keep his place in this arcane landscape. Punk's assault on culture was the logical conclusion of modernism's linear narrative of art as a force of innovation that must reject preceding artistic movements to establish new ones. Echoing the negations of Dada, it set out to put an end to this narrative, an end to culture. It is partly because of this inherently destructive and totalising side of Modernism that it has come under harsh critique in the post modern era. Nevertheless, we are still caught up in the same dialectic of progress, revolution and destruction. Post modernism has failed to unseat our desire for the revolutionary moment, even as it has been co-opted to the degree of meaninglessness by the discourses of marketing and Capitalism. But, like Jonathan Richman, the artists in the exhibition "Modern Lovers" keep returning to modernism for something else. Instead of taking it at its word when it proffers revolution, they turn to it in search of reform. Still loving the old world and desiring a dialogue with the past, perhaps as an antidote to the eternal present of Capitalism, they are willing to engage with its aesthetics and ideas on equal ground. Leaving behind the ironic deconstructions of post modernism, they find perspectives worth salvaging and juxtapose them with contemporary visual productions. Trading in the grand narratives of modernity for a more personal approach, they don't seek the purity of form that drove the avant garde movements that inspire them but rather revel in adulteration, dilution and contamination of the past by the present". A live performance by sala-manca was sponsored by the British Council and took place May 26th, 19:00. MODERN LOVERS was accompanied by a catalogue (14.80 cm x 14.80 cm) including essays by Avi Pitchon, the sala-manca group and the curators. A discussion panel about the exhibition themes, as well as the catalogue launch,took place at Goldsmiths College's cinema on the 27th of May at 14:00, chaired by Dr. Suhail Malik (Senior Lecturer & Course Leader Postgraduate Fine Art Critical Studies at Goldsmiths College) and with the participation of Tom Morton (curator, Cubitt Gallery, and regular contributor to Frieze magazine), sala-manca (artist group), Dr. Amanda Beech (artist, curator and senior lecturer at the Wimbledon School of Art), Matthew Poole (course director of MA Gallery Studies, dept. of Art History and Theory at the University of Essex).

Étant Ballet

Solo Exhibition, MacKenzie Art Gallery, Regina, Canada, The project engages with current issues around art production and food provision, catastrophe and agriculture, through the medium of a performance installation. Drawing on some of the characteristics of post dramatic theatre, the project aims to develop a new visual narratology for a contemporary art performance. A large scale video installation and construction features both as an installation site and performance set, explores the relationship between performance and food provision, looking at how changes to the organic world, the world of vibrant and edible matter might affect the way we make art. Developed and produced in collaboration with Canadian company Curtain Razors and funded by grants from Canada Council for the Arts, Saskatchewan Arts Board, the project was first commissioned by Curtain Razors and the MacKenzie Art Gallery where it was shown as a major solo exhibition as part of a series of other international programming (including artists such Guy Ben-Ner and Ron Mueck). The project was then included in the 4th Moscow Biennial as part of the landmark ‘Independent’ exhibition at the Art Arsenal in 2011. The project is planned to tour to varies other international venues throughout 2012/13. The exhibition has been reviewed by Gregory Beatty in Prairie Dog, Regina, by at the The Leader Post, The CBC French Canadian Television. Canadian writer curator Timothy Long artist and curator Elwood Jimmy have produced critical essays of the work, which will feature in a major new book, edited by Susanne Clausen, which is expected to be published in 2012. (OnCurating Publications).

Start where you are: Graphic ordering influences improvisational dance

This article is an analysis and reflection on the role of lists and diagrams in Start where you are, a multimedia improvisational piece performed as part of square zero independent dance festival: the second edition/la deuxième édition. This interdisciplinary festival was organised by collective (gulp) dance projects and took place in Ottawa, Canada, in August 2005. Start where you are was the result of a collaboration between the authors: two dance artists (Andrew and MacKinnon, the principals of (gulp)) and a visual communication designer (Gillieson). A sound artist and a lighting technician also participated in the work. This is a post-performance retrospective meant to analyze more closely the experience that meshed the evidentiary weight of words and graphics with the ephemerality and subjectivity of movement-based live performance. It contextualizes some of the work of collective (gulp) within a larger tradition of improvisation in modern dance. It also looks at how choice-making processes are central to improvisation, how they relate to Start, and how linguistic material can intersect with and support improvisational performance. Lastly, it examines some characteristics of lists and diagrams, unique forms of visual language that are potentially rich sources of material for improvisation.