El Taller de Fotografía Azentún con adolescentes mapuche de Santiago. Una propuesta fotográfica-performática para recrear una identidad visual indígena y urbana en el Museo Histórico Nacional de Chile

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2020-08-21 DOI:10.7764/67.10

José Mela Contreras

引用次数: 0

Abstract

El presente articulo reflexiona sobre la experiencia del Taller de Fotografia Azentun con adolescentes mapuche de la ciudad de Santiago, en torno a la identidad indigena desde una perspectiva contemporanea. La investigacion promovio la construccion de un relato de autorrepresentacion de la identidad mapuche por medio del uso de la fotografia y una lectura critica sobre el imaginario visual mapuche.  Algunas de las imagenes realizadas por el grupo de adolescentes fueron expuestas en el Museo Historico Nacional como un ejercicio de tension y relectura del relato identitario oficial en contraste con los microrrelatos adolescentes.

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azentun摄影工作室与圣地亚哥的马普切青少年。在智利国家历史博物馆重建土著和城市视觉身份的摄影表演方案

本  跟进思考讲习班的经验照片 Azentun 切与青少年的圣地亚哥,围绕市原住民身份从 眼光 contemporanea。的一些调查promovio肯尼亚的一个故事 autorrepresentacion 马普切人的身份通过使用照片和一个阅读有关视觉想象过于马普切。  青少年组所作的一些形象 暴露了国家博物馆的历史 tension工作和 第二阅读故事的官方 对比microrrelatos青少年。

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来源期刊

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.