Revista de Bellas Artes. Artes plásticas, estética, diseño e imagen

The Direction of PhotogrAphy and Art Direction in the Documentary Guerrero

Vicente Javier Pérez Valero — 2024-04-15

The convergence of arts is highlighted in cinematographic and videographic production. The departments of cinematography and art direction closely collaborate in any film production, particularly in a hybrid work like Guerrero. La cabeza entre las manos (2022), directed by Mario-Paul Martínez, which is the main focus here. This film, a blend of video-graphic essay and documentary, delves into the language of art and engages with the sculptural work of its protagonist and art director, Susana Guerrero, in Proyecto GUERRERO. Vicente J. Pérez, the director of photography, visually follows Guerrero from her initial sketches to the installation of her artwork in the Church-Museum of San Sebastián de los Caballeros in Toro, Zamora. Throughout this process, Guerrero reflects on her journey and the myth- ological and cultural connections linking her to Santa Catalina de Alejandría, as well as to the Gothic mural attributed to Teresa Díeç in the same church.

Pangamelan: Recycling Pans for a Collective and Sustainabble Music

Martí Ruiz i Carulla — 2024-04-15

The artistic and educational project of Pangamelan.org raises the process of building musical instruments based on the recycling of disused frying pans and with affordable and lowcost technical requirements. It is inspired by the Indonesian musical tradition of Gamelan, and implements its logic of group performance with a new set of instruments, made with pans recovered from recycling centers or contributed by the participants in the workshops, bringing us closer to Indonesian sonorities: The pans they can sound like bells or gongs, the handles become drumsticks and hammers; the supporting structures are built by recycling old furniture and fabrics. During the construction and sound design, notions about acoustic physics, hearing awareness, non-Western musical tonalities and scales are introduced, and in the musical practice phase, the dynamics of group interpretation, techniques and rhythms are introduced in counterpoint according to the Balinese tradition, to the creation of new musical forms typical of each group.

SciArt: prácticas transdisciplinares en la sinergia del Arte y la Ciencia

Rocío García Robles — 2024-04-15

A possible definition of the term SciArt would include its characterization as a post-disciplinary and post-media practice, merging elements typically associated with Arts and Sciences, generating research in both areas, while not forgetting technology as a facilitator and product of the scientific field in which it is grounded. In this context, and from our research (ASTER project, FEDER funds https://aster.us.es)), we aim to provide some evidence regarding the historical and institutional context of SciArt practices, as well as the characterization of these practices in their multiple dimensions. We attempt to address certain questions: What are the precedents in SciArt production? How do the involved agents typically develop this type of work? What defines a SciArt piece?

The Chapel of the Anaya Enríquez Family in the Church of San Esteban de Salamanca

Juan Pablo Rojas Bustamante — 2024-04-15

Within the complex and prolonged process of construction of the new church of San Esteban de Salamanca from the 16th century, the chapel of the Anaya Enríquez family stood out as a space of main relevance. This enclosure is studied as the initial solution given in 1540 by the promoter Fray Juan Álvarez de Toledo to the lineage, which consisted of changing their burials in the old header to a new location added to the layout by Fray Martín de Santiago. With the condition of the patron to the descendants of Gómez de Anaya and Aldonza Enríquez to commission an altarpiece dedicated to the Virgen del Rosario, we witness the origins of the current Rosario chapel, a dedication that would quickly end up becoming an authentic protagonist. Based on the analysis and interpretation of unknown documents and the oldest unstudied images, we reveal another part of the history of the famous Dominican convent in Salamanca. Thanks to these readings, we can conclude that the patronage of the Rosario chapel remained in that family until the 18th century, when it became the property of the convent, at which time the liturgical furniture was refurbished.

Stories and Narratives that Shape the Identity of Sound Ecosystems

Jaime A. Cornelio Yacaman — 2024-04-15

The identity of the sound ecosystem is a set of systems that form ephemeral spatio-temporal interrelationships and are manifested in a certain territory and moment, perceived by subjectivity, in our case, by artists. This identity helps us to get to know the multiple sound dimensions of a place and, in turn, enables the creation of new sound identities through art. The research question is about how the recording of a sound tells us something about the identity of the ecosystem. The aim of this article is to analyse this question on the basis of the works “In the heart of Tlanchana. Stories from the lagoon of San Miguel Almaya, State of Mexico” (2017) and “Bolibarko Erreka” (2018), works that converge in the construction of the identity of sound ecosystems. The methodology is based on a typology of artistic attitudes towards the ecosystem, developed in the doctoral thesis entitled “The identity of sound ecosystems as a basis for artistic creation”, which establishes three forms of relationship between the artistic subject and the ecosystem through sound: 1) more active, 2) less active and 3) hybrid.

Conservation of a Performance: Case Study in Marta Pinilla's Work Sálvame

Lucía Hill-Guzmán — 2024-04-15

The research is focused on the performative piece ‘Sálvame’ by the artist Marta Pinilla (1980). This artwork was presented in 2018 as part of the performative set ‘Pinilla Baroque Sacred Cosmology’ at the Juan Gallery in Madrid. The issue of performance conservation in terms of its artistic practice, as well as its preservation as a cultural asset, is present throughout this investigation, which revolves around the study of the dual material and immaterial dimensions of the piece. Furthermore, the work addresses the criteria and reflections on various strategies that frame the conservation of performative artistic practices, which are still in the process of being defined in the field of conservation-restoration. Additionally, there is a study and analysis conducted on the pathologies presented by the material elements associated with Pinilla’s work, specifically in the attire crafted by the artist using natural latex along with other materials.

Essai for the Performative Tracing of Matter

Paula Trimano — 2024-04-15

From the visual arts we are in a position to problematize those figures that, in every social order, are diverted from hegemonic narratives with the purpose of keeping hidden the fractures of the prevailing “normality”. In this case, located in the downtown area of the city of Córdoba, Argentina we complexize situations that, due to their permanence and insistence, end up being naturalized and absorbed as part of the local scenario, invisibilized and ejected towards the margins of an existential abyss. With the objective to understand and question how the means of production, the modes of consumption and the logics of work –gears of material culture– impact on the construction of identities and life trajectories, a tracing of precarious and residual materialities is carried out. This practice follows the Latourian approach that understands things as actants –non human entities that play an active role in social interaction– involved in the process, as they are the shuttles that connect points of meaning in the fabric of realities.

Artistic Anodizing

Enric Teixidó Simó — 2024-04-15

The impossibility of aluminium to react chemical patinas, as bronze does, has led artistic foundries and sculptors to think that this metal does not have its own colouring mechanisms. A review of the subject, in other fields of study more akin to science and technology, has opened the door to led us anodizing. This electrochemical treatment, which modifies the aluminium oxide layer, offers multiple colouring possibilities. In this research, with the aim of implementing this resource in the production of cast aluminium sculptures, a series of experiments have been carried out using test pieces cast with different selected aluminium and several sculptures. The results obtained have allowed us to detect the creative scope of this colouring system and, therefore, its great potential in cast sculpture.

Recovery of an Altarpiece after more than Half a Century in Oblivion

Beatriz Prado-Campos — 2024-04-15

In the church of San Francisco in Antequera, Málaga, the «panel» altarpiece dedicated to the Virgin of the Antigua by Antonio Mohedano (16th century) was situated in the Cristo Verde chapel. In the second half of the 20th century, the altarpiece was dismantled and stored in the choir, gradually fading from memory until the Brotherhood of the Students of Antequera transferred it to the Faculty of Fine Arts at the University of Seville in 2021/2022 for study and intervention. The objectives include rescuing and digitally reconstructing the altarpiece, identifying original elements and modifications, establishing stylistic transformations and parallels, and enhancing its value through exhibition. The methodology faced challenges due to the altarpiece’s deterioration and limited initial documentation. Research phases involved technical and material studies, comparative historical-artistic analysis, and an evaluation of the conservational state. Initial results reveal significant gaps in the architectural structure and stylistic and technical discrepancies between the base and the rest of the bodies, indicating different periods of design and execution. Despite ongoing deterioration, the primary challenge lies in the collective memory loss regarding the altarpiece. The research aims to recover this forgotten heritage and contribute to cultural preservation.

Spatial Colonization in the Primary Classroom

Ascensión Camero-Arranz — 2024-04-15

NASA has recently achieved a new milestone with its Mars 2020 mission, posing the Perseverance robot as a prelude to humans on Mars. Inspired by these events, pre-service Primary Education teachers, within the subjects of Innovation and curricular research in Science Education (4th year) and 2nd year of Science Education, have been requested to devise their own adventure as space colonizers. All this from a transversal vision in which Art and Science are the backbone (Serón Torrecilla, 2017; Murillo Ligorred, Serón Torrecilla y Revilla Carrasco, 2020). Among the contemporary artistic practices used are Visual Art, Sound Art, and 3D design and printing, among others. The challenge, in particular, is to explore and transport on the rugged surface of a planet like Mars.

Strategy of Self-Managed Collective Creation as a Dynamisation of Community Identity in the Territories of Malaga

Eugenio Rivas Herencia — 2024-04-15

This paper analyses the capacity of art to have a social impact. We study the particular case of Artefacto Social, a project carried out in three neighborhoods of Malaga by a team of students of the Fine Arts Degree of the University of Malaga. The proposal born with the aim of implementing intrinsic competences of collective creation and understanding art as a tool for social transformation. Among the main objectives of the project is the promotion of art as a factor of change and an axis of mediation and empowerment. We examined different theories and strategies of participation used in public art to see how, through the implementation of an art of relationships, it is possible to nurture the link between the individual and his or her territory and community.

Art and Social Networks: Post-digital Practices, Privacy and Identities

Áurea Muñoz del Amo — 2024-04-15

We live in the ‘age of access’ (Rifkin, 2000), a new hyperconnected time, in which anyone with a digital device and the Internet has at its disposal an immeasurable and heterogeneous amount of information. However, the people who inhabit the virtual world have the need to attend to the communicational pressure exerted by social networks, forcing them to remain connected in multi-user mode to numerous channels in parallel. We are in an era in which it is no longer so important to ‘own’, but it is to ‘taste’ and ‘live’ the ephemeral moment on the net. Art, always in perpetual evolution and open to transformation, has undoubtedly been determined by contemporary technological advances. Since the emergence of Web 2.0, with the accelerated incursion of networks, society has experienced a revolutionary change in the way of relating and communicating and, likewise, the cybernetic evolution has permeated the artistic practices of the 21st century.