Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27362
Julio Andrés Gracia Lana
Resena de: Masotta, Oscar, La historieta en el mundo moderno. Alcala de Henares, Ediciones Marmotilla, 2018. ISBN: 978-84-090-3648-6. 176 pp.
评论作者:马索塔，奥斯卡，现代世界的漫画。Alcala de Henares, Marmotilla出版社，2018年。ISBN: 978-84-090-3648-6。176 pp。
{"title":"Reseña de: Masotta, Oscar, La historieta en el mundo moderno","authors":"Julio Andrés Gracia Lana","doi":"10.5944/etfvii.8.2020.27362","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27362","url":null,"abstract":"Resena de: Masotta, Oscar, La historieta en el mundo moderno. Alcala de Henares, Ediciones Marmotilla, 2018. ISBN: 978-84-090-3648-6. 176 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"595-598"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42896892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.26713
Inmaculada Real López
Este articulo analiza la recuperacion de las mujeres artistas e intelectuales de la diaspora desde el marco museistico, la construccion de sus identidades y su incorporacion a los discursos expositivos. El estudio se centra en un tipo de institucion concreta, los museos monograficos del exilio creados en Espana. Se plantea desde una perspectiva comparativa a nivel nacional para determinar cuantos espacios estan consagrados a la memoria y al patrimonio de las exiliadas, quienes ademas de estar condicionadas politicamente se convirtieron en las grandes olvidadas. Asimismo, se hace referencia a un proyecto feminista puesto en marcha para museos con el fin de comprobar que lugar han ocupado en este tipo de iniciativas. Abstract This article analyzes the recovery of women artists and intellectuals of the diaspora from the museum framework, the construction of their identities and their incorporation in the exhibition discourses. The study focuses on a specific type of institution, the monographic museums of exile created in Spain. A comparative perspective is proposed at the national level to determine how many spaces are devoted to the memory and heritage of the exiles, who in addition to being politically conditioned became the great forgotten ones. Likewise, reference is made to a feminist project launched for museums in order to verify their place in this type of initiative.
{"title":"La reconstrucción de la identidad femenina en los museos: la recuperación de las olvidadas = The Reconstruction of Female Identity in the Museums: The Recovery of the Forgotten","authors":"Inmaculada Real López","doi":"10.5944/etfvii.8.2020.26713","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.26713","url":null,"abstract":"Este articulo analiza la recuperacion de las mujeres artistas e intelectuales de la diaspora desde el marco museistico, la construccion de sus identidades y su incorporacion a los discursos expositivos. El estudio se centra en un tipo de institucion concreta, los museos monograficos del exilio creados en Espana. Se plantea desde una perspectiva comparativa a nivel nacional para determinar cuantos espacios estan consagrados a la memoria y al patrimonio de las exiliadas, quienes ademas de estar condicionadas politicamente se convirtieron en las grandes olvidadas. Asimismo, se hace referencia a un proyecto feminista puesto en marcha para museos con el fin de comprobar que lugar han ocupado en este tipo de iniciativas. Abstract This article analyzes the recovery of women artists and intellectuals of the diaspora from the museum framework, the construction of their identities and their incorporation in the exhibition discourses. The study focuses on a specific type of institution, the monographic museums of exile created in Spain. A comparative perspective is proposed at the national level to determine how many spaces are devoted to the memory and heritage of the exiles, who in addition to being politically conditioned became the great forgotten ones. Likewise, reference is made to a feminist project launched for museums in order to verify their place in this type of initiative.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"203-220"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48883019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27422
Clara Solbes Borja, María Roca Cabrera
This paper analyses as a case study the project «Relecturas. Itinerarios museales en clave de género». It was conceived in 2017 under the coordination of University of València, to coproduce with museums in the València metropolitan area, gendered interpretative pathways and rereadings of the collections through the lens of gender or feminism. This study presents some antecedents of the project, as well as its contextualization at a moment apparently promoting to the gradual entry of women into museums. This implies the different objectives and working methodologies developed by the team project, as well as the future challenges that should face this 1. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València con un contrato de Formación del Profesorado Universitario del Ministerio de Ciencia, Innovación e Universidades (convocatoria de 2016). C. e.: clara.solbes@uv.es 2. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València y del proyecto «SILKNOW. Silk heritage in the Knowledge Society: from punched cards to big data, deep learning and visual/tangible simulations» financiado por el programa de investigación e innovación de la Unión Europea Horizonte 2020 (no 769504). C. e.: maria.roca@uv.es
{"title":"Redes museales en clave feminista. El caso \"Relecturas\" = Museum Networks from a Feminist Perspective. The case of «Relecturas»","authors":"Clara Solbes Borja, María Roca Cabrera","doi":"10.5944/etfvii.8.2020.27422","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27422","url":null,"abstract":"This paper analyses as a case study the project «Relecturas. Itinerarios museales en clave de género». It was conceived in 2017 under the coordination of University of València, to coproduce with museums in the València metropolitan area, gendered interpretative pathways and rereadings of the collections through the lens of gender or feminism. This study presents some antecedents of the project, as well as its contextualization at a moment apparently promoting to the gradual entry of women into museums. This implies the different objectives and working methodologies developed by the team project, as well as the future challenges that should face this 1. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València con un contrato de Formación del Profesorado Universitario del Ministerio de Ciencia, Innovación e Universidades (convocatoria de 2016). C. e.: clara.solbes@uv.es 2. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València y del proyecto «SILKNOW. Silk heritage in the Knowledge Society: from punched cards to big data, deep learning and visual/tangible simulations» financiado por el programa de investigación e innovación de la Unión Europea Horizonte 2020 (no 769504). C. e.: maria.roca@uv.es","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"271"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43100326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27436
Ana Pol Colmenares, María Rosón Villena
En este articulo desarrollamos una propuesta teorica que expone y se interroga sobre algunas de las practicas posibles de un museo que se piensa feminista. Bajo nuestra perspectiva, la inclusion de obras de artistas mujeres no solo tiene que ver con la premisa de incorporar a un colectivo invisibilizado sino que su importancia, sobre todo, radica en la transformacion de los modelos de hacer historia y su impugnacion a la construccion de un relato simplificado, autorreferencial, teleologico-desarrollista, etnocentrico y patriarcal. Desarrollamos nuestro planteamiento a traves de la discusion de cinco conceptos: reunir, proponer, mantener, contar y divagar. En la segunda parte del articulo nos detenemos extensamente en el ultimo concepto, divagar, al ser una propuesta propia que tiene que ver con una aproximacion al museo desde la fenomenologia feminista. Pensamos que las intersecciones entre espacio, practica artistica y feminismo pueden proporcionar lecturas ricas y renovadoras para los museos. En esta ocasion, trazamos un recorrido a traves de dos figuras: la flâneuse y la exiliada. Ambas desvelan algunos aspectos de las relaciones historicas entre espacio y mujeres y de forma activa combaten el espacio patriarcal con sus ausencias/presencias. Abstract In this article we develop a theoretical proposal that exposes and questions possible museum practices framed as feminist ones. From our perspective, the inclusion of works by women artists in museum displays certainly has to do with the premise of incorporating an invisible collective. However above all, its importance lies in its ability to transform models for making history and the challenge implicit in the construction of a simplified, self-referential, teleological-developmental, ethnocentric and patriarchal narrative. We develop our approach through the discussion of five actions linked to museum practice: to gather, to propose, to maintain, to tell and to digress. In the second part of the article, we dwell extensively on the last concept, «to digress», and its importance in our own proposals that outline an approach to the museum that is rooted in feminist phenomenology. We think that the intersections between space, artistic practice and feminism can provide rich and renewing readings of and interactions with museums. On this occasion, we trace a journey through two figures: the flâneuse and the exiled. Both reveal aspects of the historical relationships between women and space and women while also actively combatting patriarchal spaces marked by different absences/presences.
{"title":"Hacer espacio: Museos y feminismos = Making Space: Museums and Feminisms","authors":"Ana Pol Colmenares, María Rosón Villena","doi":"10.5944/etfvii.8.2020.27436","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27436","url":null,"abstract":"En este articulo desarrollamos una propuesta teorica que expone y se interroga sobre algunas de las practicas posibles de un museo que se piensa feminista. Bajo nuestra perspectiva, la inclusion de obras de artistas mujeres no solo tiene que ver con la premisa de incorporar a un colectivo invisibilizado sino que su importancia, sobre todo, radica en la transformacion de los modelos de hacer historia y su impugnacion a la construccion de un relato simplificado, autorreferencial, teleologico-desarrollista, etnocentrico y patriarcal. Desarrollamos nuestro planteamiento a traves de la discusion de cinco conceptos: reunir, proponer, mantener, contar y divagar. En la segunda parte del articulo nos detenemos extensamente en el ultimo concepto, divagar, al ser una propuesta propia que tiene que ver con una aproximacion al museo desde la fenomenologia feminista. Pensamos que las intersecciones entre espacio, practica artistica y feminismo pueden proporcionar lecturas ricas y renovadoras para los museos. En esta ocasion, trazamos un recorrido a traves de dos figuras: la flâneuse y la exiliada. Ambas desvelan algunos aspectos de las relaciones historicas entre espacio y mujeres y de forma activa combaten el espacio patriarcal con sus ausencias/presencias. Abstract In this article we develop a theoretical proposal that exposes and questions possible museum practices framed as feminist ones. From our perspective, the inclusion of works by women artists in museum displays certainly has to do with the premise of incorporating an invisible collective. However above all, its importance lies in its ability to transform models for making history and the challenge implicit in the construction of a simplified, self-referential, teleological-developmental, ethnocentric and patriarchal narrative. We develop our approach through the discussion of five actions linked to museum practice: to gather, to propose, to maintain, to tell and to digress. In the second part of the article, we dwell extensively on the last concept, «to digress», and its importance in our own proposals that outline an approach to the museum that is rooted in feminist phenomenology. We think that the intersections between space, artistic practice and feminism can provide rich and renewing readings of and interactions with museums. On this occasion, we trace a journey through two figures: the flâneuse and the exiled. Both reveal aspects of the historical relationships between women and space and women while also actively combatting patriarchal spaces marked by different absences/presences.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"75-98"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47758907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27478
Maite Garbayo-Maeztu
Este articulo explora las caracteristicas de la intervencion curatorial feminista a partir del analisis de un caso de estudio: la exposicion Yo, la peor de todas, comisariada por su autora. Se articula en torno a una reflexion critica sobre las distintas estrategias que se pusieron en marcha en este proyecto. Primero, tergiversar un encargo inicial de la institucion, que pedia una exposicion de mujeres artistas para cumplir con la cuota de lo politicamente correcto. Segundo, profundizar en la cita, entendida como encuentro afectivo y como practica de reconocimiento, pero tambien como estrategia artistica y curatorial feminista. Finalmente, se interroga sobre las propias condiciones de existencia de la practica curatorial feminista en el contexto del arte contemporaneo, donde predominan formas de trabajo precarizadas y modos neoliberales de entender los afectos que invisibilizan y denostan los trabajos de cuidado. Abstract This article explores the characteristics of feminist curatorial intervention based on the analysis of a case study: the exhibition Yo, la peor de todas, curated by myself. It begins with a critical reflection on the different strategies that were implemented in this project. First, to shift an initial commission from the institution that asked for an exhibition of women artists to meet the quota of political correctness. Second, to deepen in the notion of cite, understood as an affective encounter and as a practice of recognition and as an artistic and curatorial feminist strategy. Finally, it questions the very conditions of existence of feminist curatorial practice in the context of contemporary art, where precarious forms of work and neoliberal modes of understanding affects predominate, denigrating care work and rendering it invisible.
本文通过对一个案例研究的分析，探讨了女权主义策展干预的特点:作者策划的Yo, la peor de todas展览。它是基于对在这个项目中实施的各种策略的批判性反思。首先，歪曲了该机构最初的委托，该委托要求举办女性艺术家展览，以满足政治正确的配额。第二，深化约会，理解为情感的相遇和认可的实践，同时也是女权主义艺术和策展策略。最后，它质疑了女权主义策展实践在当代艺术背景下的存在条件，在当代艺术背景下，不稳定的工作形式和新自由主义理解情感的方式占主导地位，这些情感使护理工作隐形和贬低。本文通过对一个案例研究的分析，探讨了女权主义策展干预的特点:我，最糟糕的，我自己策展的展览。它首先对在这个项目中实施的不同战略进行了批判性的反思。首先，将最初的委员会从要求举办女艺术家展览的机构转移到满足政治正确性配额的机构。第二，深入探讨cite的概念，将其理解为一种情感的相遇和一种承认的实践，以及一种艺术和策展的女权主义策略。最后，它质疑当代艺术背景下女性主义策展实践的存在状况，其中不稳定的工作形式和理解影响的新自由主义模式占主导地位，诋毁关怀工作，使其隐形。
{"title":"Tergiversar, citar, tropezar: el comisariado como práctica feminista = Shifting, citing, stumbling: curating as a feminist practice","authors":"Maite Garbayo-Maeztu","doi":"10.5944/etfvii.8.2020.27478","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27478","url":null,"abstract":"Este articulo explora las caracteristicas de la intervencion curatorial feminista a partir del analisis de un caso de estudio: la exposicion Yo, la peor de todas, comisariada por su autora. Se articula en torno a una reflexion critica sobre las distintas estrategias que se pusieron en marcha en este proyecto. Primero, tergiversar un encargo inicial de la institucion, que pedia una exposicion de mujeres artistas para cumplir con la cuota de lo politicamente correcto. Segundo, profundizar en la cita, entendida como encuentro afectivo y como practica de reconocimiento, pero tambien como estrategia artistica y curatorial feminista. Finalmente, se interroga sobre las propias condiciones de existencia de la practica curatorial feminista en el contexto del arte contemporaneo, donde predominan formas de trabajo precarizadas y modos neoliberales de entender los afectos que invisibilizan y denostan los trabajos de cuidado. Abstract This article explores the characteristics of feminist curatorial intervention based on the analysis of a case study: the exhibition Yo, la peor de todas, curated by myself. It begins with a critical reflection on the different strategies that were implemented in this project. First, to shift an initial commission from the institution that asked for an exhibition of women artists to meet the quota of political correctness. Second, to deepen in the notion of cite, understood as an affective encounter and as a practice of recognition and as an artistic and curatorial feminist strategy. Finally, it questions the very conditions of existence of feminist curatorial practice in the context of contemporary art, where precarious forms of work and neoliberal modes of understanding affects predominate, denigrating care work and rendering it invisible.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"47-74"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43362762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27391
Ane Lekuona Mariscal
Este articulo aborda desde una perspectiva feminista la importancia que han tenido las exposiciones a la hora de escribir, consolidar y naturalizar la historia del arte del Pais Vasco de los anos 1950-1975. A partir de una revision que comienza en la decada de los setenta, se estudia cuales han sido las tendencias mas usuales a la hora de presentar a traves de los medios expositivos este pasado artistico y, por tanto, como se relaciona este hecho con la sistematica invisibilizacion que vienen sufriendo desde entonces las artistas que produjeron obra en el periodo senalado. Por ultimo, se cuestiona si con el paso de los anos, las demandas feministas han tenido el impacto deseado en la manera de exhibir este legado historico-artistico o si, por el contrario, todavia quedan tareas pendientes. Abstract This article addresses from a feminist perspective the importance that exhibitions have had in the task of writing, consolidating and naturalizing the history of art in the Basque Country in the years 1950-1975. Based on a review that begins in the 1970s, the text studies the most common trends in presenting this artistic past through exhibitions and, therefore, how this is related to the systematic invisibility that artists who produced work in this period have suffered since then. Finally, it is questioned whether, over the years, feminist demands have had the desired impact on the way this historical-artistic legacy is exhibited or whether, on the contrary, there is still work to be done.
{"title":"El papel de las exposiciones en la escritura de la (androcéntrica) historia del arte del País Vasco = The Role of Exhibitions in the Writing of the (Androcentric) History of Art of the Basque Country","authors":"Ane Lekuona Mariscal","doi":"10.5944/etfvii.8.2020.27391","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27391","url":null,"abstract":"Este articulo aborda desde una perspectiva feminista la importancia que han tenido las exposiciones a la hora de escribir, consolidar y naturalizar la historia del arte del Pais Vasco de los anos 1950-1975. A partir de una revision que comienza en la decada de los setenta, se estudia cuales han sido las tendencias mas usuales a la hora de presentar a traves de los medios expositivos este pasado artistico y, por tanto, como se relaciona este hecho con la sistematica invisibilizacion que vienen sufriendo desde entonces las artistas que produjeron obra en el periodo senalado. Por ultimo, se cuestiona si con el paso de los anos, las demandas feministas han tenido el impacto deseado en la manera de exhibir este legado historico-artistico o si, por el contrario, todavia quedan tareas pendientes. Abstract This article addresses from a feminist perspective the importance that exhibitions have had in the task of writing, consolidating and naturalizing the history of art in the Basque Country in the years 1950-1975. Based on a review that begins in the 1970s, the text studies the most common trends in presenting this artistic past through exhibitions and, therefore, how this is related to the systematic invisibility that artists who produced work in this period have suffered since then. Finally, it is questioned whether, over the years, feminist demands have had the desired impact on the way this historical-artistic legacy is exhibited or whether, on the contrary, there is still work to be done.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"301-318"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47687054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.28546
Álvaro Molina Martín
Sazatornil Ruiz, Luis & Madrid Alvarez, Vidal de la (coords.), Imago Urbis. Las ciudades espanolas vistas por los viajeros (siglos XVI-XIX). Gijon, Ediciones Trea, 2019. ISBN: 978-84-17987-45-9, 696 pp.
Sazatornil Ruiz, Luis & Madrid Alvarez, Vidal de la (coords.)， Imago Urbis。旅行者看到的西班牙城市(16 - 19世纪)。希洪，特里亚出版社，2019年。= =地理= =根据美国人口普查，这个县的总面积为，其中土地和(0.984平方公里)水。
{"title":"Reseña de: Sazatornil, Luis & Madrid Álvarez, Vidal de la (coords.), Imago Urbis. Las ciudades españolas vistas por los viajeros (siglos XVI-XIX)","authors":"Álvaro Molina Martín","doi":"10.5944/etfvii.8.2020.28546","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.28546","url":null,"abstract":"Sazatornil Ruiz, Luis & Madrid Alvarez, Vidal de la (coords.), Imago Urbis. Las ciudades espanolas vistas por los viajeros (siglos XVI-XIX). Gijon, Ediciones Trea, 2019. ISBN: 978-84-17987-45-9, 696 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"589-592"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42879943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27354
Eduardo Galak
Se interpelan las tensiones en las distancias entre sentidos esteticos y discursos politicos a partir de analizar las revoluciones tecnicas y esteticas que se produjeron en la cinematografia de la decada de 1920. Para ello se analizan tres largometrajes: Metropolis, de Fritz Lang (1927), Berlin. Sinfonia de una ciudad, de Walter Ruttmann (1927) y El hombre de la camara, de Dziga Vertov (1929). En ellos la ciudad se presenta como escenario donde los cuerpos se mueven, narrado por un conjunto de imagenes cuyo montaje se proyecta como el compas armonico de un regimen estetico-politico de la imagen-movimiento. En el hiato entre educar con la mirada y educar la mirada se trasluce la distancia entre lo que Jacques Ranciere denomina como la «estetica de la politica» y la «politica de la estetica». Lo cual, confrontandolo con Walter Benjamin, posibilita observar las distancias entre imagenes, entre tecnicas, entre originalidades y reproducciones, entre la estetica y la politica. Abstract The aim is to analyze the distances between aesthetic senses and political speeches by technical and aesthetical cinematography revolutions happened in the 1920s. This is observed at three feature films: Metropolis (Fritz Lang, 1927), Berlin. Symphony of a Metropolis (Walter Ruttmann, 1927) and The Man with a Movie Camera (Dziga Vertov, 1929). At those films the city is exhibited as a scenario where bodies are moving, narrated by a set of images whose assembly is projected as the harmonic compass of an aesthetic-political regime of the image-movement. In the hiatus between educating with the gaze and educating the gaze itself, the distance between what Jacques Ranciere called as the «aesthetics of politics» and the «politics of aesthetics» is studied. Confronting this with Walter Benjamin’s theory, it is possible to observe the distances between images, between techniques, between originality and reproduction and between aesthetics and politics.
{"title":"Distancias. Hacia un régimen estético-político de la imagen-movimiento = Distances. Towards an Aesthetic and Political Image-Movement Regime","authors":"Eduardo Galak","doi":"10.5944/etfvii.8.2020.27354","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27354","url":null,"abstract":"Se interpelan las tensiones en las distancias entre sentidos esteticos y discursos politicos a partir de analizar las revoluciones tecnicas y esteticas que se produjeron en la cinematografia de la decada de 1920. Para ello se analizan tres largometrajes: Metropolis, de Fritz Lang (1927), Berlin. Sinfonia de una ciudad, de Walter Ruttmann (1927) y El hombre de la camara, de Dziga Vertov (1929). En ellos la ciudad se presenta como escenario donde los cuerpos se mueven, narrado por un conjunto de imagenes cuyo montaje se proyecta como el compas armonico de un regimen estetico-politico de la imagen-movimiento. En el hiato entre educar con la mirada y educar la mirada se trasluce la distancia entre lo que Jacques Ranciere denomina como la «estetica de la politica» y la «politica de la estetica». Lo cual, confrontandolo con Walter Benjamin, posibilita observar las distancias entre imagenes, entre tecnicas, entre originalidades y reproducciones, entre la estetica y la politica. Abstract The aim is to analyze the distances between aesthetic senses and political speeches by technical and aesthetical cinematography revolutions happened in the 1920s. This is observed at three feature films: Metropolis (Fritz Lang, 1927), Berlin. Symphony of a Metropolis (Walter Ruttmann, 1927) and The Man with a Movie Camera (Dziga Vertov, 1929). At those films the city is exhibited as a scenario where bodies are moving, narrated by a set of images whose assembly is projected as the harmonic compass of an aesthetic-political regime of the image-movement. In the hiatus between educating with the gaze and educating the gaze itself, the distance between what Jacques Ranciere called as the «aesthetics of politics» and the «politics of aesthetics» is studied. Confronting this with Walter Benjamin’s theory, it is possible to observe the distances between images, between techniques, between originality and reproduction and between aesthetics and politics.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"465-484"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44471838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.28787
Consuelo Gómez López
Resena de: Juliana Colomer, Desiree: Fiesta y urbanismo. Valencia en los siglos XVI y XVII. Universitat de Valencia, 2019. ISBN: 978-84-9134-482-7, pp. 337.
{"title":"Reseña de: Juliana Colomer, Desirée: Fiesta y urbanismo. Valencia en los siglos XVI y XVII","authors":"Consuelo Gómez López","doi":"10.5944/etfvii.8.2020.28787","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.28787","url":null,"abstract":"Resena de: Juliana Colomer, Desiree: Fiesta y urbanismo. Valencia en los siglos XVI y XVII. Universitat de Valencia, 2019. ISBN: 978-84-9134-482-7, pp. 337.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"585-588"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47551286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27640
Gloria G. Durán
Ante esta cuestion: ?Como cambiar los marcos, los relatos, las estructuras del museo actual, para que podamos identificarnos con el, para reconocernos en sus imagenes y en sus narraciones? planteo referencias que tramadas podrian atisbar el principio de un nuevo debate. El titulo se va desgranando a lo largo del articulo. Para «El peligro de ablandarse» trabajo con el legado de las salonnieres y la obra de Benedetta Craveri y Roger Chartier. Para «Hermandad», me apoyo en Carla Hesse y su descubrimiento de la historiadora dieciochesca francesa Louise-Felicite Guynement de Keralio-Robert (1758-1822). En el tercer apartado, «Igualdad», trabajo desde los variados acercamientos al feminismo en los anos 70, reviso a Linda Nochlin y reivindico a Mierle Laderman Ukeles. Y finalmente «Solidaridad», me apoyo en Angela Davis y su redescubrimiento de las blues ladies, asi como en mi propio trabajo en el que reivindico la importancia para la historia del feminismo espanol de las cupletistas. Abstract Faced with this question: How to change the frameworks, the stories, the structures of the current museum, to identify them with it, to recognize us in its images and in its narrations? The title is unraveling throughout the article. For «The peril of tenderice» I work with the legacy of the salonnieres and the work of Benedetta Craveri and Roger Chartier. For «Sisterhood» , I rely on Carla Hesse and her discovery of the French eighteenth-century historian Louise-Felicite Guynement de Keralio-Robert (1758-1822). In the third section, «Equality», I work from the various approaches to feminism in the 70s, I review Linda Nochlin and I claim Mierle Laderman Ukeles. And finally «Solidaridad», I rely on Angela Davis and her rediscovery of the blues ladies, as well as my own work in which I claim the importance for the history of Spanish feminism of the cupletistas.
{"title":"El peligro de ablandarse. Igualdad, hermandad, solidaridad = The Perils of Tenderice. Equality Sisterhood Solidarity","authors":"Gloria G. Durán","doi":"10.5944/etfvii.8.2020.27640","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27640","url":null,"abstract":"Ante esta cuestion: ?Como cambiar los marcos, los relatos, las estructuras del museo actual, para que podamos identificarnos con el, para reconocernos en sus imagenes y en sus narraciones? planteo referencias que tramadas podrian atisbar el principio de un nuevo debate. El titulo se va desgranando a lo largo del articulo. Para «El peligro de ablandarse» trabajo con el legado de las salonnieres y la obra de Benedetta Craveri y Roger Chartier. Para «Hermandad», me apoyo en Carla Hesse y su descubrimiento de la historiadora dieciochesca francesa Louise-Felicite Guynement de Keralio-Robert (1758-1822). En el tercer apartado, «Igualdad», trabajo desde los variados acercamientos al feminismo en los anos 70, reviso a Linda Nochlin y reivindico a Mierle Laderman Ukeles. Y finalmente «Solidaridad», me apoyo en Angela Davis y su redescubrimiento de las blues ladies, asi como en mi propio trabajo en el que reivindico la importancia para la historia del feminismo espanol de las cupletistas. Abstract Faced with this question: How to change the frameworks, the stories, the structures of the current museum, to identify them with it, to recognize us in its images and in its narrations? The title is unraveling throughout the article. For «The peril of tenderice» I work with the legacy of the salonnieres and the work of Benedetta Craveri and Roger Chartier. For «Sisterhood» , I rely on Carla Hesse and her discovery of the French eighteenth-century historian Louise-Felicite Guynement de Keralio-Robert (1758-1822). In the third section, «Equality», I work from the various approaches to feminism in the 70s, I review Linda Nochlin and I claim Mierle Laderman Ukeles. And finally «Solidaridad», I rely on Angela Davis and her rediscovery of the blues ladies, as well as my own work in which I claim the importance for the history of Spanish feminism of the cupletistas.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"147-170"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49357195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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