scholarly journals Artista contemporáneo busca público al que enfrentarse. Sobre el arte como hecho comunicativo

Liño ◽  
2017 ◽  
Vol 23 (23) ◽  
pp. 147
Author(s):  
Luis D. Rivero Moreno
Keyword(s):  
Twentieth Century ◽  
Public Participation ◽  
Contemporary Art ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Physical Presence ◽  
Siglo Xx ◽  
Arte Contemporáneo

RESUMEN:Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo tiempo.PALABRAS CLAVE:Arte contemporáneo; semiología; artista; público; participación en el arte.ABSTRACT:Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.KEY WORDS:Contemporary art; semiology; artist; public; participation in art.

scholarly journals La écfrasis en la obra de Luis Javier Moreno

2013 ◽  
Vol 22 ◽  
Author(s):  
Natalia Carbajosa Palmero
Keyword(s):  
Twentieth Century ◽  
Present Article ◽  
Historical Context ◽  
Multiple Perspective ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Siglo Xx

El presente trabajo analiza la poesía ecfrástica de Luis Javier Moreno dentro del contexto teórico e histórico de la écfrasis, entendida ésta como instrumento semiótico y epistemológico de primer orden y, más concretamente, como elemento mediador entre el poema y la realidad. Desde esta perspectiva múltiple, la naturaleza de la relación verbal-visual que es objeto de la écfrasis adquiere connotaciones heredadas de la época de las vanguardias de principios del siglo XX, claramente relacionadas con la invasión visual de la postmodernidad, lo que se estudiará en relación a los poemas elegidos para el análisis.The present article analyzes the ekphrastic poetry of Luis Javier Moreno within the theoretical and historical context of exphrasis as a primordial semiotic and epistemological source; furthermore, as a mediating element between the poem and reality. From this multiple perspective, the nature of the visual-verbal relationship, which is the concern of ekphrasis, shows connotations brought about by the avant-garde period of the early twentieth century, and clearly related with the current visual invasion of postmodernity. All this will be dealt with in relation to the poems chosen for analysis.

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

scholarly journals Punk Rock as Popular Theatre

2007 ◽  
Vol 23 (1) ◽  
pp. 35-48 ◽  
Author(s):  
Oliver Double
Keyword(s):  
Twentieth Century ◽  
Punk Rock ◽  
Popular Theatre ◽  
Avant Garde ◽  
Stand Up Comedy ◽  
Early Twentieth Century ◽  
Wide Range ◽  
Sex Pistols ◽  
Music Hall ◽  
The University

Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).

scholarly journals Iconografía fundacional en la historia del Perú

2019 ◽  
pp. 15-25
Author(s):  
Leopoldo Lituma Agüero
Keyword(s):  
Twentieth Century ◽  
Basic Education ◽  
National History ◽  
School Population ◽  
Early Twentieth Century ◽  
Palabras Clave ◽  
History Of ◽  
Collective Imagination ◽  
Siglo Xix ◽  
Siglo Xx

Luego de la Independencia, la construcción iconográfica devino en indispensable por la necesidad de educar en la historia patria desde un punto de vista vernáculo. Sin embargo fueron extranjeros los primeros que se abocaron a la investigación y compendio de la historia patria desde sus orígenes.Aquellos textos, sin imágenes aún, se utilizaron en la incipiente educación peruana del siglo XIX. A principios del siglo XX aparecieron en el Perú los primeros textos escolares ilustrados, los uales incorporaron imágenes tomadas de publicaciones foráneas, algunas de ellas con una visióneuropeizante de lo acontecido en estas tierras. Otras publicaciones menos idealizadas contribuyeron,  con sus dibujos y grabados, a la historia visual del país, y cuando fueron incorporados a los libros paraeducación básica coadyuvaron a crear el imaginario colectivo. El presente artículo muestra algunas fuentes iconográficas que sirvieron para instruir a la población escolar de principios del siglo XX, varias tomadas como válido referente en diversas situaciones de la historia del Perú, preguntándose cómo pueden haber influido en la conciencia nacional. Palabras clave: Iconografía, Imaginario, Historia, Educación Básica, Perú   AbstractAfter Independence, the building became iconographic indispensable due to the need for educationin the country´s history from a vernacular perspective. But foreigners were the first to set about theresearch and compilation of national history from its origins. Those texts, no pictures yet, were used inthe emerging nineteenth century Peruvian education. In the early twentieth century came the first illustrated textbooks, witch incorporated images taken from foreign publications, some with a view of what happened European vision in these lands. Other publications less idealized helped with his drawings and print to the visual history of the country, and when they were incorporated into the books for basic education, helped create a collective imagination. This article shows some iconographic sources that served to educate the school population in the early twentieth century, several taken as a valid reference in various situations in the history of Peru, wondering how it may have influenced national consciousness. Keywords: Iconography, Imagination, History, Basic Education, Perú

scholarly journals El manifiesto artístico de Alejandro González Trujillo, Apu-Rimak, en sus cartas a Yolanda Bedregal

2020 ◽  
pp. 32-47
Author(s):  
Alejandra Echazú Conitzer ◽  
Rodrigo Gutiérrez Viñuales
Keyword(s):  
Art Education ◽  
20Th Century ◽  
Contemporary Art ◽  
The South ◽  
La Paz ◽  
Palabras Clave ◽  
Wide Range ◽  
Yolanda Bedregal ◽  
Siglo Xx ◽  
Arte Contemporáneo

A partir de un amplio conjunto de cartas, hasta ahora inéditas, escritas por el artista peruano AlejandroGonzález Trujillo, y enviadas a la joven escritora boliviana Yolanda Bedregal entre 1934 y 1936, hemosextractado diversas reflexiones que nos dan la posibilidad de componer una suerte de manifiesto artístico del pintor. Las cartas permiten recrear ese periodo cusqueño de González Trujillo, su vida, sus afanes y sus trabajos en viajes artísticos y patrimoniales por el sur del Perú, a la par que evocar su disciplina y formación en la vida y en el arte, así como su profunda vocación de educador. Sus pensamientos dejan entrever un compromiso inquebrantable con la cultura peruana prehispánica, con su propio arte y su posición dentro de las tensiones del campo artístico peruano de esos años. Se pone también en evidencia el fervor con el que los artistas peruanos abordaron la inconmensurable labor de catalogar el legado de sus ancestros. Palabras clave: Alejandro González Trujillo, Apu-Rimak, Yolanda Bedregal, Cusco, La Paz, arte contemporáneo, enseñanza artística, indoamericanismo, Siglo XX AbstractFrom a wide range of letters, hitherto unpublished, by the Peruvian artist Alejandro González Trujillo, andsent to the young Bolivian writer Yolanda Bedregal 1934 and 1936, we have extracted various reflections that give us the possibility of composing a kind of artistic manifesto by the painter. The letters allow us to recreate that Cusco period of González Trujillo, his life, his efforts, and his works in artistic and patrimonial journeys through the south of Peru while evoking his discipline training in life and art, as well as his profound vocation as an educator. His thoughts reveal an unwavering commitment to pre-Hispanic Peruvian culture, his art, and his position within the tensions of the Peruvian artistic field of those years. It also shows the fervor with which Peruvian artists approached the immeasurable task of cataloging their ancestors’ legacy. Keywords: Alejandro González Trujillo, Apu-Rimak, Yolanda Bedregal, Cusco, La Paz, contemporary art, art education, Indo-Americanism, 20th century

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