Viaje a través del tiempo. Diálogos entre obras de arte

This paper is contextualized in teacher training and it is the result of the analysis of students» works after two visits to the museums of the city of Lleida: an exhibition of contemporary art at Sorigué Foundation and another exhibition at the Museum of Lleida that includes the heritage collections. The students should make a comparison between the two visits. They lived two completely different experiences. The results showed an emerging dichotomous thinking in terms of classical art / contemporary art. We present how can we deconstruct and break this thought in the order to define new proposals to include the dialogues and «travels through time» in the education, in the training and in life.

El objetivo de este módulo es hacer un acercamiento a los procesos creativos y artísticos que se generan en la sociedad contemporánea occidental desde un punto de vista multidisciplinar, Historia, Arte, Literatura, Música y otras.

Pueblos y culturas de la Prehistoria a la actualidad, 2023

Time, Art and Architecture. The interdisciplinary relationship between art and architecture has not only always been frequent, but also increases with the passage of time. Thus, if from the point of view of representation, the control of space was the main leitmotif of art, from the twentieth century onwards time became the main concept. The revision that Cubism made of the "window painting" from 1907 onwards and with the help of Picasso and Braque, involved the use of the simultaneity of views through the use of facets, and, in the architectural field, the embodiment of temporal dynamism was completed with proposals such as 'La Maison Cubiste' (1912) by Raymond Duchamp-Villon and the contributions of Czech Cubism. with representatives such as Pavel Janák or Josef Gočár. Futurism, on the other hand, led by Filippo Tommasi Marinetti in 1909, advocated an apology for machinism, through the representation of the burst, with leading artists such as Umberto Boccioni and Giacomo Balla, together with architects such as Antonio Sant'Elia and Enrico Prampolini. The theme of temporality, as well as interdisciplinarity in groups of artists who collaborate together, will also be recurrent in proposals such as "Victory over the Sun" (St. Petersburg, 1913) in which Kazimir Malevich participated, and from 1914 onwards in Constructivism, as evidenced in the work of Vladimir Tatlin, Naum Gabo or El Lissitzky. Halfway between Dadaism (1916) and Surrealism (1917), it is worth mentioning artists interested in dynamism and movement, such as Marcel Duchamp with "Bicycle Wheel on a Stool" (1913), Kurt Schwitters and his proposal 'Merzbau' (1923-37) or Tristan Tzara and the 'Exquisite Corpse' (1925). On the other hand, participatory art, which is equated with life itself, takes the form of the Happening, an interdisciplinary concept born in the 50s by artists such as John Cage, Allan Kaprow or Wolf Vostell, the latter author of the first Happening in Europe, 'Das Theater ist auf der Strasse' (Paris, 1958). A decade later, and in the same line of experimentation with new means of artistic hybridization, it is appropriate to mention the Fluxus movement, with artists such as the aforementioned Wolf Vostell, along with others such as Joseph Beuys or Nam June Paik. On the other hand, the artists of Land Art, including Robert Smithson, Richard Long and Christo and Jeanne-Claude, also explored the passage of time, although using nature itself for their artistic production. Finally, the exhibition entitled "Deconstructivist Architecture" (Museum of Modern Art, New York 1988), gave its name to Deconstructivism, an architectural movement that reinterpreted Constructivism and which has illustrious representatives, such as Coop Himmelb(l)au, Frank Gehry or Rem Koolhaas.

2003

The work of art has its own temporality, as Phenomenology and Hermeneutics have shown. Among all the authors belonging to both philosophical movements, Gadamer has paid special attention to this phenomenon. In the present paper, I study his contribution to this particular topic, and I try to relate it to some other possibilities of approaching this subject.

Tercio Creciente

Este estudio describe e interpreta el diálogo entre una artista visual y artesana en crin oriunda de Rari,región del Maule, Chile, sobre el problema de definiciones, distancias entre arte y artesanía y su proyección en la educación. El arte y la artesanía son abordadas desde las propuestas de diversos autores, así como desde el diálogo e historias de vida de las participantes, para finalmente proponer una estrategia educativa integrada. No se han encontrado investigaciones en los que este debate se lleve a cabo a partir del diálogo de protagonistas de estas áreas, sino más bien, miradas externas del fenómeno. Esta propuesta se conforma sobre la construcción conjunta de relación de traspaso de información y reflexión, surgidas desde las maneras en que las protagonistas fueron formadas en la construcción de objetos culturales, ya sea comprendida como obra de arte o como objeto de una tradición. El diálogo se articula a partir de conversaciones entre la artesana confrontada con las res...