Pub Date : 2021-10-15DOI: 10.5944/etfvii.9.2021.30703
Nausikaä El-Mecky
La destrucción de imágenes es un proceso que a menudo produce un nuevo imaginario, un espectáculo visual en sí mismo. Incluso después de que la imagen original haya sido borrada, su ausencia puede crear una estética propia y poderosa que sobrevive durante siglos. El artículo se centra en dos estudios de casos históricos: la iconoclasia en Zúrich en la década de 1520 y el ataque nacionalsocialista al llamado arte degenerado. A través de ellos, pretende mostrar cómo la destrucción puede dar lugar a una obra de arte total a través de un proceso cuidadosamente planificado, incluso guionizado, que se aleja del estereotipo del ‘lunático corriendo con un mazo’. Sostiene que muchos ataques a las imágenes se caracterizan por la transformación, el misticismo y la performatividad, durante los cuales una cuidadosa oscilación entre la ausencia y la presencia desempeña un papel importante. En última instancia, la contribución se esfuerza por crear una nueva comprensión de las destrucciones de imágenes a través del marco de la Gesamtkunstwerk.
{"title":"La destrucción de imágenes como obra de arte total. La Gesamtkunstwerk como agujero negro","authors":"Nausikaä El-Mecky","doi":"10.5944/etfvii.9.2021.30703","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.30703","url":null,"abstract":"La destrucción de imágenes es un proceso que a menudo produce un nuevo imaginario, un espectáculo visual en sí mismo. Incluso después de que la imagen original haya sido borrada, su ausencia puede crear una estética propia y poderosa que sobrevive durante siglos. El artículo se centra en dos estudios de casos históricos: la iconoclasia en Zúrich en la década de 1520 y el ataque nacionalsocialista al llamado arte degenerado. A través de ellos, pretende mostrar cómo la destrucción puede dar lugar a una obra de arte total a través de un proceso cuidadosamente planificado, incluso guionizado, que se aleja del estereotipo del ‘lunático corriendo con un mazo’. Sostiene que muchos ataques a las imágenes se caracterizan por la transformación, el misticismo y la performatividad, durante los cuales una cuidadosa oscilación entre la ausencia y la presencia desempeña un papel importante. En última instancia, la contribución se esfuerza por crear una nueva comprensión de las destrucciones de imágenes a través del marco de la Gesamtkunstwerk.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89467099","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 : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30491
Anna Borisova Fedotova, I. Martín
After the October Revolution, Russian society faced the enormous challenge of building a socialist culture in a country with deep-rooted religious and monarchical traditions and a devastated economy. To reach this new cultural horizon and thus cement the political transformations, it was necessary to influence the construction of collective identities - bearers of renewed citizen awareness. In this article we will delve into the way in which mass theatre contributed to achieving this objective not only due to its nature as a rite linked to the heritage of the Orthodox Church, but also through new formulas of inhabiting and interacting with space public. Both the transformation of the meaning conferred on the place and the establishment of a renewed bond between the public and the space was emphasized through symbolic identification and collective action-transformation.
{"title":"Teatro de masas en la Rusia posrevolucionaria: la proto-performance en los contextos urbanos y su influencia en la construcción de las identidades colectivas","authors":"Anna Borisova Fedotova, I. Martín","doi":"10.5944/ETFVII.9.2021.30491","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30491","url":null,"abstract":"After the October Revolution, Russian society faced the enormous challenge of building a socialist culture in a country with deep-rooted religious and monarchical traditions and a devastated economy. To reach this new cultural horizon and thus cement the political transformations, it was necessary to influence the construction of collective identities - bearers of renewed citizen awareness. In this article we will delve into the way in which mass theatre contributed to achieving this objective not only due to its nature as a rite linked to the heritage of the Orthodox Church, but also through new formulas of inhabiting and interacting with space public. Both the transformation of the meaning conferred on the place and the establishment of a renewed bond between the public and the space was emphasized through symbolic identification and collective action-transformation.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47173387","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 : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30255
Sonia Caballero Escamilla
The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.
{"title":"Crónica de un viaje sin retorno del patrimonio eclesiástico: Julián y Antonio Zabaleta y las pinturas del convento de Santo Tomás de Ávila en el Museo del Prado","authors":"Sonia Caballero Escamilla","doi":"10.5944/ETFVII.9.2021.30255","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30255","url":null,"abstract":"The exit of artworks from suppressed convents during the confiscation decreed by Mendizabal caused an irreparable loss of a valuable heritage. Besides, the dispersion of the pieces resulted in a decontextualization that hasn’t allowed us to know their original location neither their meaning. This paper proposes to follow the travel of some remarkable paintings of The Prado collection, those that belonged to the monastery of St. Thomas of Avila, focusing on the reasons that produced the exit from their original places, their arrival to Madrid, the final ingress in the museum, and the dispersion of some of them, that modified the original purposes and their contextual meaning.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45176184","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 : 2021-10-15DOI: 10.5944/etfvii.9.2021.31663
Eduard Cairol, Tomas Macsotay Bunt
Introducción al dossier.
档案简介。
{"title":"Introducción: cuando los espacios devienen arte. Obra de arte total, instalación, entornos inmersivos","authors":"Eduard Cairol, Tomas Macsotay Bunt","doi":"10.5944/etfvii.9.2021.31663","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.31663","url":null,"abstract":"Introducción al dossier.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85235510","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.8.2020.25394
Gemma Cobo
La muerte del principe de Asturias, hijo de Isabel II, en 1850 sirvio como asunto de una amplia produccion visual, fue noticia durante mas de un mes, y causo la conmocion del pueblo. A traves de las imagenes y la prensa es posible recuperar los usos politicos que se hicieron de las emociones, asi como las practicas que se sucedieron con el propio cuerpo del nino. Tanto las funciones de las obras encargadas por el rey, Francisco de Asis, a Federico de Madrazo, Jose Piquer, Antonio Gomez Cros y Angel Maria Cortellini, como las excepcionales practicas que se llevaron a cabo durante el protocolo funerario no eran tanto reflejo de una nueva sensibilidad ante la muerte de los ninos como estrategias politicas basadas en los afectos, que pretendian ganar el favor de los subditos. Abstract The death of the Prince of Asturias, son of Isabel II, in 1850 was the subject of great artistic outpouring; it was news for more than a month, and it shocked people profoundly. Through the images created and the press, it is possible to observe the political uses that were made of the emotions, as well as the practices, related to the child’s body. Both the use made of the works commissioned by the king, Francisco de Asis, from Federico de Madrazo, Jose Piquer, Antonio Gomez Gros and Angel Maria Cortellini, as well as the exceptional practices carried out during the funeral rites were not so much a reflection of a new sensitivity regarding the death of children, but, rather, political strategies based on the affection generated by the death, which sought to win the favour of subjects.
{"title":"«Un ángel más»: prensa, imágenes y prácticas emocionales y políticas por el malogrado príncipe de Asturias = «One More Angel»: Press, Images and Emotional and Political Practices about the Deceased Prince of Asturias","authors":"Gemma Cobo","doi":"10.5944/etfvii.8.2020.25394","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.25394","url":null,"abstract":"La muerte del principe de Asturias, hijo de Isabel II, en 1850 sirvio como asunto de una amplia produccion visual, fue noticia durante mas de un mes, y causo la conmocion del pueblo. A traves de las imagenes y la prensa es posible recuperar los usos politicos que se hicieron de las emociones, asi como las practicas que se sucedieron con el propio cuerpo del nino. Tanto las funciones de las obras encargadas por el rey, Francisco de Asis, a Federico de Madrazo, Jose Piquer, Antonio Gomez Cros y Angel Maria Cortellini, como las excepcionales practicas que se llevaron a cabo durante el protocolo funerario no eran tanto reflejo de una nueva sensibilidad ante la muerte de los ninos como estrategias politicas basadas en los afectos, que pretendian ganar el favor de los subditos. Abstract The death of the Prince of Asturias, son of Isabel II, in 1850 was the subject of great artistic outpouring; it was news for more than a month, and it shocked people profoundly. Through the images created and the press, it is possible to observe the political uses that were made of the emotions, as well as the practices, related to the child’s body. Both the use made of the works commissioned by the king, Francisco de Asis, from Federico de Madrazo, Jose Piquer, Antonio Gomez Gros and Angel Maria Cortellini, as well as the exceptional practices carried out during the funeral rites were not so much a reflection of a new sensitivity regarding the death of children, but, rather, political strategies based on the affection generated by the death, which sought to win the favour of subjects.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42702217","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.8.2020.27341
Dolores Villaverde Solar
Este articulo se acercara al Centro Galego de Arte Contemporanea (Santiago de Compostela) desde su construccion en los anos noventa del siglo XX para comprobar, a traves de su historia, si es posible a dia de hoy hablar de feminismo o no en su trayectoria. Se intentara llegar a unas conclusiones repasando la labor de sus gestores/as y algunas de las muestras mas interesantes de las artistas que tienen un papel relevante en el ambito del feminismo. Abstract This article will approach the Galician Center for Contemporary Art (Santiago de Compostela) since its construction in the nineties of the 20th century, to check, through its history, if it is possible today, to speak of feminism or not in its history. We will try to reach some conclusions by reviewing the work of their directors and some of the most interesting exhibitions of the artists who have a relevant role in the feminism.
{"title":"La presencia del arte feminista en el CGAC. Selección de exposiciones y artistas = The Presence of Feminist Art in the CGAC. Selection of Exhibitions and Artists","authors":"Dolores Villaverde Solar","doi":"10.5944/etfvii.8.2020.27341","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27341","url":null,"abstract":"Este articulo se acercara al Centro Galego de Arte Contemporanea (Santiago de Compostela) desde su construccion en los anos noventa del siglo XX para comprobar, a traves de su historia, si es posible a dia de hoy hablar de feminismo o no en su trayectoria. Se intentara llegar a unas conclusiones repasando la labor de sus gestores/as y algunas de las muestras mas interesantes de las artistas que tienen un papel relevante en el ambito del feminismo. Abstract This article will approach the Galician Center for Contemporary Art (Santiago de Compostela) since its construction in the nineties of the 20th century, to check, through its history, if it is possible today, to speak of feminism or not in its history. We will try to reach some conclusions by reviewing the work of their directors and some of the most interesting exhibitions of the artists who have a relevant role in the feminism.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47954927","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.8.2020.27534
Borja Franco Llopis
Reseña de: López Terrada, María José, Efímeras y eternas: pintura de flores en Valencia (1870-1930). Casa Museo Benlliure, del 21 de febrero al 7 de julio de 2019. Valencia, Ajuntament de València, Regidoria de Patrimonio i Recursos Culturals, 2018. ISBN: 978-84-9089-159-9, 120 pp.
{"title":"Reseña de: López Terrada, María José, Efímeras y eternas: pintura de flores en Valencia (1870-1930). Casa Museo Benlliure, del 21 de febrero al 7 de julio de 2019","authors":"Borja Franco Llopis","doi":"10.5944/etfvii.8.2020.27534","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27534","url":null,"abstract":"Reseña de: López Terrada, María José, Efímeras y eternas: pintura de flores en Valencia (1870-1930). Casa Museo Benlliure, del 21 de febrero al 7 de julio de 2019. Valencia, Ajuntament de València, Regidoria de Patrimonio i Recursos Culturals, 2018. ISBN: 978-84-9089-159-9, 120 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85960699","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.8.2020.27451
José Luis Panea
El reposo al que la enfermedad conduce para mitigar el dolor encuentra –cultural e historicamente– como escenario paradigmatico el lecho, la cama. Este mueble, en tanto metafora corporal, suele ser testigo de acontecimientos como el nacimiento, la enfermedad, la sexualidad y el erotismo o la muerte. En el arte, ha devenido tropo frecuente al exponer dichas cuestiones, conduciendo a una re-experimentacion creativa del espacio domestico. Analizaremos una genealogia de artistas que aportan otra mirada a este enser por el que el cuerpo pasa , y que, debido a la experiencia de la enfermedad y el trauma, se resignifica, llevando al autor a replantar su propio habitar e incluso su practica artistica. Partiremos de la Estetica y la Historia del Arte para localizar las principales exposiciones sobre el tema y pondremos en relacion a los artistas que han tratado la cama como repositorio de dicho padecer. Abstract The repose to which the disease leads to mitigate the pain, finds –culturally and historically– as a paradigmatic scenario the bed. This piece of furniture, as a body metaphor, is usually witness of events such as birth, disease, sexuality and eroticism or death. In art, the bed has become a frequent trope especially to expose the illness as a moment of forced rest in which it is possible to creatively re-experience the domestic. We propose a genealogy of artists who bring another look to this belonging that, due to the experience of pain, trauma or disease, is re-signified, leading the author to reconsider his own habitat. We will start from Aesthetics and History of Art to analyse the main exhibitions on the subject and we will put in relation the artists who have treated the bed as a repository of said suffering.
疾病导致的休息以减轻疼痛——在文化和历史上——作为一个典型的场景，床，床。这种家具，作为身体的隐喻，经常见证诸如出生、疾病、性和色情或死亡等事件。在艺术中，它已经成为揭露这些问题的常用比喻，导致了对家庭空间的创造性再实验。我们将分析艺术家的谱系，他们为身体所经过的这个enser提供了另一种视角，由于疾病和创伤的经历，它重新定义了自己，导致作者重新种植自己的生活，甚至他的艺术实践。我们将从美学和艺术史出发，找到关于这个主题的主要展览，并将把把床作为这种疾病的仓库的艺术家联系起来。Abstract to The repose to which The疾病制订The pain,会见了—culturally床历来—as a paradigmatic scenario。This piece of negritude furniture, as a body,通常是witness of events如生育疾病,sexuality, eroticism or死刑。在艺术方面，床已经成为一个经常的主题，特别是在一个被迫休息的时刻，在那里可以重新体验家庭生活。我们提出了一个艺术家的谱系，他们带来了另一种观点，由于痛苦、创伤或疾病的经验，被重新定义，引导作者重新考虑他自己的栖息地。We will start from Aesthetics and History of Art to analyse the main关于exhibitions on the subject and We will put in the艺术家世界卫生组织已经对床作为repository said卵巢癌。
{"title":"Del descanso forzado a la cama interconectada como espacio de creación. Escenarios posibles desde las prácticas artísticas contemporáneas = From Forced Rest to the Interconnected Bed as a Space for Creation. Possible Stages in Contemporary Art Practices","authors":"José Luis Panea","doi":"10.5944/etfvii.8.2020.27451","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27451","url":null,"abstract":"El reposo al que la enfermedad conduce para mitigar el dolor encuentra –cultural e historicamente– como escenario paradigmatico el lecho, la cama. Este mueble, en tanto metafora corporal, suele ser testigo de acontecimientos como el nacimiento, la enfermedad, la sexualidad y el erotismo o la muerte. En el arte, ha devenido tropo frecuente al exponer dichas cuestiones, conduciendo a una re-experimentacion creativa del espacio domestico. Analizaremos una genealogia de artistas que aportan otra mirada a este enser por el que el cuerpo pasa , y que, debido a la experiencia de la enfermedad y el trauma, se resignifica, llevando al autor a replantar su propio habitar e incluso su practica artistica. Partiremos de la Estetica y la Historia del Arte para localizar las principales exposiciones sobre el tema y pondremos en relacion a los artistas que han tratado la cama como repositorio de dicho padecer. Abstract The repose to which the disease leads to mitigate the pain, finds –culturally and historically– as a paradigmatic scenario the bed. This piece of furniture, as a body metaphor, is usually witness of events such as birth, disease, sexuality and eroticism or death. In art, the bed has become a frequent trope especially to expose the illness as a moment of forced rest in which it is possible to creatively re-experience the domestic. We propose a genealogy of artists who bring another look to this belonging that, due to the experience of pain, trauma or disease, is re-signified, leading the author to reconsider his own habitat. We will start from Aesthetics and History of Art to analyse the main exhibitions on the subject and we will put in relation the artists who have treated the bed as a repository of said suffering.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43827065","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.8.2020.27347
Ester Alba Pagán, Aneta Vasileva Ivanova
La pandemia de 2020 enfrento las areas que tratan la memoria desde los margenes con la necesidad de transformar sus experiencias en estrategias con potencial de futuro. El articulo busca reflejar la interseccion entre dos campos de accion cultural comprometida: el de algunos museos valencianos y el de las asociaciones de mujeres gitanas, vistas tambien desde el ambito local. El objeto de nuestro analisis son dos vertientes de la actuacion cultural emancipadora: las experiencias, fenomenos a menudo caoticos y coyunturales, y las estrategias razonadas, que unen practicas del conocimiento critico hasta ahora no contiguas. El estado de alarma definio estas ramas estrategicas como inclusion digital y justicia social, apoyadas sobre los derechos identitarios y culturales e inseparables de las luchas de genero. Abstract The 2020 pandemic confronted the areas related to memory from the margins, with the need to transform their experiences into strategies with future potential. The article seeks to reflect the intersection between two fields of engaged cultural action: that of some Valencian museums and that of romi women’s associations, also seen at the local level. Thus, the object of our analysis are two strands of emancipatory cultural action: experiences, often chaotic and conjunctural phenomena, and reasoned strategies, which unite hitherto non-contiguous practices of critical knowledge. The state of emergency defined these strategic branches as digital inclusion and social justice, supported by identity and cultural rights and inseparable from gender struggles.
{"title":"Intersecciones críticas. Experiencias y estrategias desde la museología y el feminismo gitano, bajo el prisma del covid-19 = Critical Intersections. Experiences and Strategies from Museology and Roma Feminism, under the Prism of Covid-19","authors":"Ester Alba Pagán, Aneta Vasileva Ivanova","doi":"10.5944/etfvii.8.2020.27347","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27347","url":null,"abstract":"La pandemia de 2020 enfrento las areas que tratan la memoria desde los margenes con la necesidad de transformar sus experiencias en estrategias con potencial de futuro. El articulo busca reflejar la interseccion entre dos campos de accion cultural comprometida: el de algunos museos valencianos y el de las asociaciones de mujeres gitanas, vistas tambien desde el ambito local. El objeto de nuestro analisis son dos vertientes de la actuacion cultural emancipadora: las experiencias, fenomenos a menudo caoticos y coyunturales, y las estrategias razonadas, que unen practicas del conocimiento critico hasta ahora no contiguas. El estado de alarma definio estas ramas estrategicas como inclusion digital y justicia social, apoyadas sobre los derechos identitarios y culturales e inseparables de las luchas de genero. Abstract The 2020 pandemic confronted the areas related to memory from the margins, with the need to transform their experiences into strategies with future potential. The article seeks to reflect the intersection between two fields of engaged cultural action: that of some Valencian museums and that of romi women’s associations, also seen at the local level. Thus, the object of our analysis are two strands of emancipatory cultural action: experiences, often chaotic and conjunctural phenomena, and reasoned strategies, which unite hitherto non-contiguous practices of critical knowledge. The state of emergency defined these strategic branches as digital inclusion and social justice, supported by identity and cultural rights and inseparable from gender struggles.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44187707","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.8.2020.28769
Patricia Molins
Presentacion de este numero y de los articulos que en el aparecen, acompanada de una breve introduccion al debate y un ejemplo, tomado del trabajo de la autora y de otras comisarias, de un aspecto ignorado en dicho debate: el de las exposiciones que sin tener una tematica explicitamente feminista o centrarse en nombres femeninos trabajan desde una perspectiva feminista, cuestionando el canon historiografico. Abstract Presentation of this issue and the articles that appear in it, including by a brief introduction to the debate and an example, taken from the work of the author and other curators, of an aspect ignored in said debate: the exhibitions that nor being openly feminist in its subject, neither focusing on female names, work from a feminist point of view, questioning the historical canon.
性能这个号码和这本书出现在简要介绍,acompanada辩论和一个例子摘自名申诉人和其他工作,忽视这个讨论:无需一个展览tematica女权的报价。女子名字或侧重从女权角度,质疑historiografico经典合作。Abstract Presentation of this issue and the articles that争取in it,包括:a brief introduction to the辩论和以采取from the work of the提交人and other curators of an监测器ignored in said: exhibitions, nor being公然讨论女权in its subject,既不关注女性名,work from a女权point of view,强制the历史尺度。
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