Relevant bibliographies by topics / Antes del Arte (Group of artists)

Academic literature on the topic 'Antes del Arte (Group of artists)'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Antes del Arte (Group of artists)"

1

Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.

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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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Garcerá Ruiz, Javier. "Ver desde el Hacer: Materia, Tiempo y Silencio en el Arte Contemporáneo." Barcelona Investigación Arte Creación 8, no. 3 (October 3, 2020): 204. http://dx.doi.org/10.17583/brac.2020.4227.

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Using as a starting point the artwork from a group of contemporary artists whose language is grounded on handicraft techniques, this article puts forward several reflections on the art production process and its impact on the act of seeing—in particular, creative processes which, by dissolving the watertight categories of arts, handicrafts, and design, focus on the sensory qualities of materials, rein in rational control on the act of making, and result in artwork which can only be understood beyond discourse. Drawing from ideas that are central to the writings of Juhani Pallasmaa, Richard Sennett, Byung-Chul Han, and Doris von Drathen, this article discusses various theoretical questions underlying the work of the aforementioned artists. They all point towards the possibility of an artistic practice that represents an ethics rooted in detachment and silence.
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Byrne, John, and Alessandra Saviotti. "Hacking education: Arte Útil as an educational methodology to foster change in curriculum planning." Art & the Public Sphere 11, no. 1 (April 1, 2022): 99–114. http://dx.doi.org/10.1386/aps_00072_1.

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Artworks operating at the intersection of art and education often attempt to challenge dominant education systems in suggesting alternative pedagogical models that could function outside the official academic realm, proposing radical changes to the latter. However, the lack of continuity of alternative education models implemented by artists and curators within universities’ art and design departments fails to provide a longer-term change. This article stems from our research on the usological turn, a recent shift from spectatorship to usership according to which artists and curators tend to create art projects which situate themselves as part of a broader usership. Using an autoethnographic approach, we will analyse how the principles of the art group Arte Útil intersects with the undercommons. Hence, we explore how they apply an alternative method, through participatory curriculum planning, as a tool for change within the institution of education.
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Sarriugarte Gomez, Iñigo. "Reflexiones desde la bioética sociobiológica ante el arte transgénico." Revista de Humanidades, no. 39 (May 29, 2020): 33. http://dx.doi.org/10.5944/rdh.39.2020.21418.

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Resumen: La dificultad de esquematizar una postura homogénea frente al arte transgénico marca la necesidad de asentar un espectro divergente en torno a dicha cuestión. No obstante, teniendo en cuenta las diferentes modalidades bioéticas existentes, se ha optado por un acercamiento a la vertiente sociobiológica y a algunos de los principales pensadores que se han instalado en las proximidades de dicha corriente. Dentro del bioarte, se articula inevitablemente una implicación moral y ética, ya que desde este ámbito artístico se interviene sobre organismos vivos mediante herramientas biotecnológicas, lo que conlleva un replanteamiento de la naturaleza del arte y sus límites de actuación. En el arte genético o transgénetico, se hace uso de cultivos de células, síntesis de secuencias de ADN producidas y manipuladas, etc. Distintos creadores, como Kart Mihail y Tran Kim-Trang, Eduardo Kac, Brandon Ballengée, o el colectivo Tissue Culture & Art Project han contribuido de una manera muy productiva a incentivar este debate, que será enriquecido mediante una confinidad al apartado sociobiológico.Abstract: The difficulty of schematizing a homogeneous position in relation to the transgenic art marks the need to establish a divergent spectrum around this issue. However, taking into account the different existing bioethical modalities, we have opted for an approach to sociobiological bioethics and some of the main thinkers who have settled in the vicinity of this current. In the BioArt, the moral and ethical involvement is articulated, because from this artistic field the artists intervene on living organisms through biotechnology tools, which entails a rethinking of the nature of art and its performance limits. Within the Genetic or Transgenic Art, the artists make use of cell cultures, synthesis of DNA sequences produced and manipulated, and so on. Various artists, as Karl Mihail and Tran Kim-Trang, Eduardo Kac, Brandon Ballengée, or the group Tissue Culture & Art Project have contributed in a very productive way to stimulate this debate, being enriched by means of sociobiological field.
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Villegas Torres, Fernando. "Escuela de Bellas Artes del Perú (1919-1943). Heterogeneidad de lenguajes modernos y de vanguardia en la búsqueda de un arte nacional." Tradición, segunda época, no. 21 (December 27, 2021): 193–203. http://dx.doi.org/10.31381/tradicion.v0i21.4490.

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La Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) comenzó sus funciones en 1919; no obstante, su creación se realizó un año antes durante el segundo Gobierno de José Pardo y Barreda (1915-1919) con el nombre de Escuela Nacional de Bellas Artes (ENBA). Los artistas nacionales Daniel Hernández (1856-1932) y José Sabogal (1888-1956) fueron los primeros directores de la institución entre los años de 1919 y 1943, años que nos interesa analizar para resaltar dos aspectos que evidenciaron las enseñanzas de los artistas maestros mencionados anteriormente: el proceso pedagógico y las características formales de la producción artística de los alumnos. Además, entender la institucionalidad artística; es decir, las actividades artísticas realizadas en distintos períodos que sirvieron para consolidar a la Escuela y, por tanto, a las artes en el país. Palabras claves: Escuela Nacional de Bellas Artes, José Sabogal, Daniel Hernández, Institucionalidad artística, Arte Peruano Siglo XX, proceso de enseñanza en arte Abstract The Escuela Nacional Superior Autónoma de Bellas Artes del Perú (ENSABAP) started its activities in 1919; however, its creation took place one year earlier during the second Government of José Pardo y Barreda (1915-1919) under the name of Escuela Nacional de Bellas Artes (ENBA). The national artists Daniel Hernández (1856-1932) and José Sabogal (1888-1956) were the first directors of the institution between 1919 and 1943, years that we are interested in analyzing in the present essay to highlight two aspects that marked the teachings of these previously mentioned artists: the pedagogical process and the formal characteristics of the artistic production of the students. In addition, to understand the artistic institutionality; that is to say, the artistic activities carried out in different periods that served to consolidate the School and, therefore, the arts in the country.
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Benezra, Karen. "Media Art in Argentina: Ideology and Critique “Después Del Pop”." ARTMargins 1, no. 2–3 (June 2012): 152–75. http://dx.doi.org/10.1162/artm_a_00023.

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This article examines the rise and reception of conceptual art in Argentina. Against dominant readings of the 1960s' and 70s' visual avant-gardes in Latin America, I reconsider the stakes of art's so-called “dematerialization” and its unique claim on ideology critique in the work of the Grupo Arte de los Medios [Media Art Group], a collective of young artists led by the philosopher and literary critic Oscar Masotta. Arguing for a re-historicization of the 1960s avant-garde as one that emerges as a self-reflexive reaction to the novel articulation of late capitalism in Argentina, I trace a critical continuity between the Grupo Arte de los Medios and the avant-gardist claims on the fusion of art and militant politics among its immediate successors. I suggest that the Argentinean avant-garde defined its radical political stance through a reflection on the immanent relation of structural cause to symbolic form, probing and pointing to the limits of the operation of estrangement.
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7

López, Paula Barreiro. "Antes del Arte in Spain (1968–1969): Merging Art, Science and Politics in the Heat of the Cold War." Leonardo 53, no. 3 (May 2020): 299–303. http://dx.doi.org/10.1162/leon_a_01889.

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This article concerns Antes del Arte, a vanguard Spanish art group that existed from 1968 to 1969. Through specific examples, the author explains the group's history and theoretical basis as well as its artistic production. Discussing the references taken from contemporary aesthetic scientific theories, the author analyzes the substantial theoretical framework that the art critic Vicente Aguilera Cerni introduced into the group's manifestos. Finally, she addresses the specific role that the interactions between the artistic and the scientific fields had in the context of Spain's Franco regime.
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Cabañas Moreno, Pilar. "mirada glocal al arte digital inmersivo de teamLab." Imafronte, no. 27 (December 11, 2020): 1–27. http://dx.doi.org/10.6018/imafronte.429171.

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El objetivo de este trabajo es estudiar el caso del grupo artístico japonés conocido como teamLab, formado por artistas, diseñadores, ingenieros informáticos, técnicos, etc. Trabajan piezas de arte digital de carácter proyectivo e interactivo sumamente complejas, que nadie de un modo independiente, no colaborativo podría lograr realizar. Con esta investigación se pretende analizar sus planteamientos, su modo de trabajo y sus referencias culturales más cercanas, para descubrir sus aportaciones y comprobar de que modo su obra llega a encajar en el nuevo paradigma de la globalización como es el glocalismo, resaltando aquello que procede y los identifica con su entorno cultural japonés, y lo que los lanza a dar una respuesta universal a la sociedad a través de su arte. La metodología en este caso será de tipo fenomenológico y analítico, recogiendo información sobre el grupo, todavía dispersa en prensa y páginas web, y estudiando formal y conceptualmente sus obras. The objective of this work is to study the case of the Japanese artistic group teamLab, made up of artists, designers, computer engineers, technicians, etc. They create highly complex projective digital pieces of art, which no one in an independent, non-collaborative way could achieve. This research aims to analyze their approaches, way of working and their closest cultural references, and how their work fits into the new paradigm of globalization such as glocalism, highlighting which comes from and identifies them with their Japanese cultural environment, and what launches them to give an universal answer to society through their art. The methodology in this case will be phenomenological and analytical. Information about the group will be collected, still scattered in the press and on web pages, and studying their works formally and conceptually.
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9

Munive Maco, Manuel. "El grabado contemporáneo en Arequipa." Illapa Mana Tukukuq, no. 15 (February 7, 2019): 34–43. http://dx.doi.org/10.31381/illapa.v0i15.1840.

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ResumenLa ciudad de Arequipa, una de las más importantes del Perú, se ha caracterizado por ser tierra de acuarelistas, tal como lo deja ver la interminable nómina de virtuosos pintores que sustentan esta tradición plástica desde hace más de un siglo. Sin embargo, desde hace poco tiempo, y casi a la sombra de la acuarela, ha ido desarrollándose el trabajo de un grupo de artistas de distintas generaciones, que eligieron el grabado como medio de expresión. El presente trabajo propone una primera mirada de conjunto a este acervo gráfico. Palabras clave: Arequipa, arte, tradición plástica, arte contemporáneo, grabado. AbstractThe city of Arequipa, one of the most important cities in Peru, has been characterized as a land of watercolorists, as shown by the endless list of virtuous painters that sustains this visual arts tradition for more than a century. However, for a short time, and almost in the shadow of watercolor, the work of a group of artists from different generations has been developing engraving as a means of expression. This work proposes a first overview of this graphic collection. Keywords: Arequipa, art, plastic tradition, contemporary art, engraving.
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10

Repertório, Teatro &. Dança. ""Modos de fazer" na dança do Brasil: quatro traçados [Cássia Navas]." REPERTÓRIO, no. 14 (November 3, 2010): 133. http://dx.doi.org/10.9771/r.v0i14.4674.

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<p>Fruto de encontro do GT Pesquisa de Dança no Brasil: processos e investigações, da Abrace - Associação Brasileira de Pesquisa e Pós-Graduação em Artes Cênicas, realizado em São Paulo em 2004, o presente texto reúne quatro depoimentos de artistas-pesquisadores-professores da dança do Brasil sobre arte e metodologias de criação e ensino ancoradas em trajetórias individuais.</p><p><br />Result of a meeting of the work group Survey of Dance in Brazil: processes and investigations, as a part of Abrace - Brazilian Association for Research and Graduate Studies in Performing Arts, held in São Paulo in 2004, that brings together four testimonials from artists-researchersteachers of dance in Brazil, about art and creating and teaching methodologies anchored in individual trajectories.</p>
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Books on the topic "Antes del Arte (Group of artists)"

1

Bellver, Lydia Frasquet. Antes del Arte: Cinquanta anys després. València: Fundació General de la Universitat de València, 2019.

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2

Saura, Fundación Antonio. Antes de El Paso en El Paso y después de El Paso. Cuenca: Editorial Alderabán, 2018.

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3

Vicente, Aguilera Cerni, and Garnería J. 1949-, eds. Antes del arte: IVAM Centre Julio González, 10 Junio - 7 Septiembre, 1997. Valencia: Generalitat Valenciana, 1997.

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Huercanos, Juan Pablo. Grupo GAUR: Arte y construcción colectiva, 1965-1967 = GAUR Taldea : arte eta eraikuntza kolektiboa, 1965-1967. Alzuza: Fundación Museo Jorge Oteiza, 2020.

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Mazzotta, Fondazione Antonio, ed. Cracking: Arte di rottura. Milano: Mazzotta, 2007.

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6

Manrique, Daniel. Tepito Arte Acá. [Nezahualcóyoti, Estado de México]: Grupo Cultural Ente, 1998.

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Wendling, Líbia Maria Martins. A arte no Vale do Sinos. São Leopoldo, RS, Brasil: Editora UNISINOS, 1999.

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Biennale di Venezia (59th : 2022 : Venice, Italy), ed. Biennale arte 2022, Grenada Pavilion. Rome]: Edizioni Start, 2022.

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Manrique, Daniel. Tepito Arte Acá: [una propuesta imaginada]. [ Valle de Aragón, Nezahualcóyot, México]: Grupo Cultural Ente, 1998.

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Sarmiento, José Antonio. El arte de la acción: Nitsch, Mühl, Brus, Schwarzkogler. Canarias: Viceconsejería de Cultura y Deportes, 1999.

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