Research

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Browsing Research by Department "Design"

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    Bobby Baker: la normalización y el espacio público
    (Genueve Ediciones, 2019) Zarza García Arena, Clara; https://ror.org/02jjdwm75
    ¿Cómo afectan las prácticas artísticas a los entornos y las personas que los realizan? Tiempos de habitar se proponen como una utopía concreta, siguiendo la formulación de Ernst Bloch, una utopía que se cumple en su propio inacabamiento, lugares intermedios de reflexión práctica a través del encuentro con lo otro y los otros, un tiempo de suspensión para replantear las posibilidades del ejercicio artístico como herramienta pública. El objetivo de este libro es investigar desde diversos contextos artísticos, económicos y regionales de Latinoamérica y Europa de qué manera las prácticas artísticas pueden crear esfera pública, generar otros entornos habitables desde lo performativo y proponer otros ámbitos de sociabilidad desde lo artístico. La práctica artística es un espacio de investigación que rompe lógicas ya asumidas y contiene una posibilidad de libertad creativa de procedimientos para descubrir nuevas vías no predeterminadas de investigación. “Sin embargo —como afirma Diego Agulló, uno de los autores de este volumen—, no existe garantía alguna de ir caminando hacia el lugar correcto, en todo momento se trata de un experimento, un ensayo y error en constante renegociación. No se puede pretender saber qué mundo queremos sin ponerlo en juego desde el hacer, desde el estar ya desde siempre haciendo mundo con lo otro”.
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    Publication
    Material worlds: Domestic objects and the question of auto/biography in contemporary art
    (School of the art University of pretoria, 2019) Zarza García Arena, Clara; https://ror.org/02jjdwm75
    At the turn of the twenty-first century, due to the expansion of postcolonial consciousness, artists identified as “non-western” gained a new visibility in the Euro-American art world that was far from unproblematic. Installations and multimedia practices revolving around domestic space and daily objects were internationally celebrated as a novel source for reflections on the notion of home. Based on the assumption that artists’ lived experiences of migration, separation, or loss made their use of the domestic inherently transgressive, these disparate works were framed as autobiographical or self-representational. With this, the institutional landscape seemed to undergo a total transformation in reevaluating the use of personal materials in art practices. Dismissed as confessional or narcissistic when articulated as a key critical strategy by feminist Euro-American artists just a decade earlier, it was precisely this personal and domestic quality that seemed to be seen as valuable and relevant in the context of an art world with newfound pretensions of inclusion and globalisation. Focusing on Ishiuchi Miyako's work Mother’s 2000-2005: Traces of the Future as a case study, I argue that the reasons behind this notable shift were twofold: first, the shift in artistic language, from the political explicitness of earlier feminist artworks to the use of material subtlety and conceptual ambivalence, allowed for these works to travel well from national to international exhibitions; at the same time, the use of personal and domestic objects seemed to justify their framing through biographical narratives that, in turn, served to comfortably categorise them, while also offering grounds for viewer engagement.