Arte Y Emancipación En El “Giro Educativo”

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Arte Y Emancipación En El “Giro Educativo” Memoria del VI Encuentro de Investigación y Documentación de Artes Visuales ESTUDIOS E INVESTIGACIONES Cenidiap Memoria del VI Encuentro de Investigación y Documentación de Artes Visuales. Ampliando campos de producción. Prácticas y pragmáticas instituyentes Primera edición: 2016 Producción: Secretaría de Cultura Instituto Nacional de Bellas Artes Loreto Alonso Atienza / Presidenta del comité organizador del VI Encuentro de Investigación y Documentación de Artes Visuales Virginia García Pérez / Coordinación editorial Carlos Martínez Gordillo, Amadís Ross González, Marta Hernández Rocha y Margarita González Arredondo / Cuidado de la edición Yolanda Pérez Sandoval y Tlaoli Ramírez Téllez / Diseño José Luis Rojo Pérez / Formación Yolanda Pérez Sandoval / Diseño de cubierta D. R. © 2016 de la presente edición Instituto Nacional de Bellas Artes / Cenidiap Paseo de la Reforma y Campo Marte s/n colonia Chapultepec Polanco, delegación Miguel Hidalgo, 11560, Ciudad de México Las características gráficas y tipográficas de esta edición son propiedad del Instituto Nacional de Bellas Artes de la Secretaría de Cultura Todos los derechos reservados. Queda prohibida la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reprografía o el tratamiento informático, la fotocopia o la grabación, sin la previa autorización por escrito de la Secretaría de Cultura / Instituto Nacional de Bellas Artes. Editor responsable: Instituto Nacional de Bellas Artes. Reserva de Derechos al Uso Exclusivo núm. 04-2016-112217382700-102, ISSN: En 2448-8127 Impreso y hecho en México ÍNDICE PRESENTACIÓN 13 CARLOS GUEVARA MEZA Conferencia magistral Últimas noticias sobre las culturas en México 17 NÉSTOR GARCÍA CANCLINI MESA 1. Detonadores de acciones y reflexiones l El conflicto transparente. Trabajo artístico en colectivo, 47 nuevos interlocutores y espacios institucionalizados como entornos conflictivos C.A.S.I.T.A. (LORETO ALONSO, EDUARDO GALVAGNI Y DIEGO DEL POZO) l Profanaciones. Hacia una crítica de la representación 57 de tercera generación DIANA PADRÓN ALONSO l Prácticas instituyentes contra la gobernanza neoliberal 67 IRMGARD EMMELHAINZ l Postinternet povera: topologías de la mirada digital 81 JAVIER FRESNEDA MESA 2. Pasados inestables l Ilustradores del semanario El Mundo Ilustrado (1894-1920): 95 ¿artistas de segunda clase o diseñadores gráficos? MARTHA EUGENIA ALFARO CUEVAS l El arte y la imagen ephemera en busca de la 105 desvanecencia del canon PAOLA AMBROSIO LÁZARO, CATALINA FARA, NINEL VALDERRAMA NEGRÓN E HIRAM VILLALOBOS AUDIFFRED l Pulgarcito, iniciativa de educación periodística ilustrada 113 y escrita por niños y para niños durante la posrevolución LAURA GONZÁLEZ MATUTE MESA 3. De colecciones y quimeras l Quimera universalista: el Museo Nacional de Arqueología 125 y Artes Plásticas, 1930 ANA GARDUÑO l Invisibilidades y coleccionismo en torno a estéticas 135 prohibidas en la Rusia del siglo XX MARÍA LUISA HERNÁNDEZ RÍOS l Arqueología del coleccionismo de arte prehispánico 147 en Oaxaca NORMA PATRICIA LACHE BOLAÑOS Conversatorio: Educación 157 IRMA FUENTES, HUMBERTO CHÁVEZ, CARLA RIPPEY Y RICARDO DELGADO MESA 4. Los giros educativos l Territorios nómadas: aproximación a los procesos 191 transdisciplinarios de las artes ANA LILIA MACIEL SANTOYO l Arte y emancipación en el “giro educativo” 199 BLANCA GUTIÉRREZ GALINDO l Profesionales de las artes: desarrollo de competencias 207 transversales en un marco de multidisciplinariedad y trabajo colaborativo FERNANDO ARREOLA, EDNA MORALES Y JULIO ALBERTO PIMENTEL l Reflexiones en torno a la investigación en el arte 217 REBECA SÁNCHEZ Y MARIE-CHRISTINE CAMUS MESA 5. Derivas y desbordamientos estéticos l Laboratorio de experimentación social con grafiti digital 227 (videografiti) ALAN GILBERTO ALANÍS GARZA l Dossier: espacio para el proceso dialogado. Arte, 235 memoria y territorio ERÉNDIRA MELÉNDEZ, LUIS SERRANO, LEONARDO ARANDA Y CÉSAR CORTÉS l Literatura electrónica: disolución de campos estéticos 247 e intermedialidad MARÍA ANDREA GIOVINE YÁÑEZ l Fábrica de Cultura Hazlo Tú Mismo. Reflexiones sobre 255 una escultura social YURI ALBERTO AGUILAR HERNÁNDEZ MESA 6. Destejiendo la historia l Especulaciones teóricas insolucionadas en “psicohistoria” 267 (a propósito del llamado “método Warburg” ALBERTO ARGÜELLO GRUNSTEIN l Nadando hacia la tercera orilla. Hacia nuevos mapas 277 conceptuales de la historia del arte en México CARLOS ARANDA MÁRQUEZ l Representación de la memoria en el arte contemporáneo. 287 Hiroshima y Nagasaki después de Fukushima MIKI YOKOIGAWA l Descolonización del pensamiento en los estudios de teoría 295 e historia del arte para América Latina y el Caribe RENÉ CORREA ENRÍQUEZ Conversatorio: Producción 309 LOURDES GROBET Y ESTHER CIMET MESA 7. Detonadores de cuerpos y espacios l Acciones votivas, sincretismo y performance 341 ÁLVARO VILLALOBOS HERRERA l Desplazamiento sensible: nueva mirada a la práctica 351 textil maya actual en los Altos de Chiapas CLAUDIA ADELAIDA GIL CORREDOR l Entre resistencias prácticas y prácticas instituyentes 361 LEÓN DAVID ENRÍQUEZ MESA 8. Memoria de resistencia l Memoria y poder en disputa 371 ALBERTO HÍJAR SERRANO l Entre tiempos. Sobre el arte y los modos de 383 apropiación del pasado CIRCE RODRÍGUEZ PLIEGO l De ritualidades y memoria. Estación Darío y Maxi: 389 un caso ejemplar CRISTINA HÍJAR GONZÁLEZ l Reconocimiento y apropiación. La memoria como 403 resistencia: La comuna RUBÉN ORTIZ (colectivo La comedia humana) MESA 9. Disolución entre artesanía, arte y diseño l Refugios rurales: educación artística al margen del taller 415 EDWIN ALEJANDRO MORENO MEDRANO l James Metcalf: promotor del patrimonio cultural inmaterial 421 GUADALUPE TOLOSA SÁNCHEZ l Disolución del espacio estético/disolución del espacio 427 de poder. Salón o espacio alternativo para las artes en San Miguel de Allende MARÍA EUGENIA RABADÁN VILLALPANDO l Diseñando la artesanía. El caso de Capula, Michoacán 435 MÓNICA ITZEL SOSA RUIZ MESA 10. Lenguajes en fuga l Producción audiovisual amateur en Internet: 447 ¿creadores o you-sers? ADRIANA MARCELA MORENO ACOSTA l La visualización sonora a través del lenguaje plástico. 457 Expansiones pospentagramáticas (Cage, Xenaxis, Quaderny) CARLOS PINEDA SÚMANO l El lenguaje popular como lugar de confluencia 467 entre arte y diseño DARÍO GONZÁLEZ GUTIÉRREZ Y ARACELI SONÍ SOTO l Tramas y sentidos de las artes visuales en contextos 475 carcelarios. Taller de libros cartoneros en el Mx2 (módulo de máxima seguridad), cárcel de Bouwer, Córdoba, Argentina SARA INÉS CARPIO MESA 11. Discursividades y narrativas críticas l Nuevo códice: Oaxaca, migración y memoria cultural 487 ARNULFO AQUINO CASAS l Acciones paradójicas 497 GRACIELA SCHMILCHUK l El mural político-social, una piedra en el zapato del 507 discurso hegemónico GUILLERMINA GUADARRAMA PEÑA l Ejercicios curatoriales y micronarrativa. Por un zangoloteo 515 constante de aquello que se cree conocer SOL HENARO Autores 525 PR E S en TA ci Ó N Esta Memoria representa para el Centro Nacional de Investigación, Docu- mentación e Información de Artes Plásticas (Cenidiap) una doble celebra- ción. Por un lado, el Encuentro de Investigación y Documentación de Artes Visuales cumple ya diez años, siempre con la presencia de destacados académicos, intelectuales y artistas que nos impulsan en nuestro empeño por construir espacios de confluencia y de diálogo, para la generación y difusión del conocimiento sobre las artes y sobre nuestro mundo. No está de más reiterar que la producción artística, y la reflexión sobre la misma, no ocurren en un olimpo lejano e intocado, sino aquí en la tierra, con todas sus complejidades, conflictos, contradicciones y catástrofes, pero también sus grandezas, armonías y belleza. Hablar de arte es, entonces, hablar también de lo que somos, de lo que podemos ser y de lo que no queremos que sea. Por otro lado, el Cenidiap cumple treinta años de haberse establecido mediante la fusión de cinco centros de investigación y documentación preexistentes, cuyas tradiciones y proyectos particulares atesoramos y continuamos, renovándolos con el fin de legarlos a quienes nos seguirán. A partir de la fundación del más antiguo de esos Centros, tendríamos ya 41 años; y no es que nos quitemos la edad, sino que deseamos celebrar una convivencia, a veces difícil, siempre gozosa y, sobre todo, productiva. Celebrar un aniversario no sólo implica convocar la memoria del pa- sado. Debe ser también una celebración del presente, del estar aquí, jun- tos, trabajando, y un mirar hacia el futuro. Ver lo que falta por hacer, que es mucho. Los cambios tecnológicos y sociales nos demandan que revisemos nuestras prácticas de trabajo y nuestros planteamientos, nues- tras formas de organización y de producción, así como nuestra manera de relacionarnos con la sociedad y los medios para cumplir nuestra función. 14 n V I E N C U E N T R O D E I N V E S T I G A C I Ó N Y D O C U M E N T A C I Ó N D E A R T E S V I S U A L E S De ahí la importancia que reviste para nosotros el tema con el cual con- vocamos a la sexta edición del Encuentro:* dialogar con nuestros pares y amigos de dentro y fuera de la institución sobre las nuevas prácticas, y las prácticas otras, de producción de saberes, afectos, representaciones e imágenes; para analizar los modos en que las instituciones se forman y se transforman, y lo que la sociedad requiere de ellas. En suma, para de- batir, desde el ámbito de las prácticas estéticas y la producción simbólica (y sus múltiples articulaciones con la producción y la reproducción so- cial), lo político tal como lo definía Bolívar Echeverría, como “la capacidad de decidir sobre los asuntos de la vida en sociedad, de fundar y alterar la legalidad que rige la convivencia humana, de tener a la socialidad de la vida […] como una sustancia a la que se le puede dar forma”. Muchas gracias a todos por acompañarnos en esta reflexión. CARLOS GUEVARA MEZA DIRECTOR DEL CENTRO NACIONAL DE INVESTIGACIÓN, DOCUMENTACIÓN E INFORMACIÓN DE ARTES PLÁSTICAS/INBA * El VI Encuentro de Investigación y Documentación de Artes Visuales se realizó del 14 al 17 de octubre de 2015 en el Aula Magna José Vasconcelos del Centro Nacional de las Artes, Ciudad de México.
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