Anales de Historia del Arte最新文献_第6页

Montajes y paradojas: una conversación entre Pedro G. Romero y Aurora Fernández Polanco 蒙太奇与悖论：佩德罗·G·罗梅罗与奥罗拉·费尔南德斯·波兰科的对话

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83056

Equipo editorial

{"title":"Montajes y paradojas: una conversación entre Pedro G. Romero y Aurora Fernández Polanco","authors":"Equipo editorial","doi":"10.5209/anha.83056","DOIUrl":"https://doi.org/10.5209/anha.83056","url":null,"abstract":"Pedro G. Romero no es solamente uno de los artistas más significativos en las relaciones que el arte contemporáneo ha mantenido con el archivo. Él mismo es un archivo viviente y agitado. Además, esta conversación no tendría ningún sentido si no compartiéramos la necesidad de pensar «por imágenes» y «por montaje», como si fueran palos de flamenco. Los dos, desde la heterodoxia, nos sentimos deudores de una genealogía común. Con el Aby Warburg que nos dio a conocer Georges Didi-Huberman, con las constelaciones benjaminianas. Lo dije en otro momento: «Nada menos esencialista, en la proteica poética de este monstruo-ciborg aflamencado que conforman Pedro G. y su troupe, que la manera que tienen de escaparse de las definiciones y los binarismos propios de nuestra herencia cultural»[1]. Muchas y muchos historiadores del arte ya nos reconocemos en la manera en que Pedro G. Romero se las ha visto con una determinada forma de darle vida (póstuma) a las imágenes. \u0000 \u0000[1] Fernández Polanco, A. (2021). Contra la pureza. CTXT – Contexto y acción, 278. Obtenido de: https://ctxt.es/es/20211101/Firmas/37871/pureza-flamenco-Pedro-G-Romero-MNCARS-exposicion.htm [Consulta: 16 de junio de 2022].","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45170764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Thinking Onto the Box: The Photographer’s Archive as Instrument 思考盒子:作为工具的摄影师档案

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83075

Michel Hardy-Vallée

{"title":"Thinking Onto the Box: The Photographer’s Archive as Instrument","authors":"Michel Hardy-Vallée","doi":"10.5209/anha.83075","DOIUrl":"https://doi.org/10.5209/anha.83075","url":null,"abstract":"Studies of photographic archives have tended to follow two distinct models: analyses of institutional archives as systems of knowledge and power, or close readings of objects informed by theories of material culture. Art historical research, in contrast, also seeks to determine intentional meanings behind images or artefacts. The archive of a photographer can thus be approached along three different angles: as a system for filing images and their meanings; as a collection of material objects; finally, as traces of use that correspond to specific intentional acts by the artist directed towards the production of artworks. In an art historical context, the archive can be read as a means towards an end. This paper presents a case study of Canadian photographer John Max (1936-2011) and his use of the archive to produce the landmark sequence Open Passport (exhibited 1972; published 1973). Using both documentary and material evidence shows how John Max’s photographic artworks are specified through a process of materially realized editorial decisions more than by the moment of exposure. These decisions in turn are mediated by material features of the archive, such as traces of previous choices on contact sheets. Finally, this mediating role of the archive is also socialized, integrating both collaborators and existing ideas, pointing at the necessity of a networked narrative in monographic studies of photographers.\u0000 ","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44001804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Reflejos oscuros: el siniestro rostro de los archivos en Black Mirror 黑暗的反射：黑镜档案馆的险恶面孔

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83068

Sergio Gavilán Escario

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Del legado vanguardista a la proyección multimedia. L’Archivio del ’900 del Museo di arte moderna e contemporanea di Trento e Rovereto 法律先锋是一个多媒体项目。特伦托和罗韦雷托现代艺术博物馆20世纪档案馆

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83057

Juan Agustín Mancebo Roca

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Archivos de arte y artes de archivo. Una introducción 艺术档案和档案艺术。一个导言

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83046

Henar Rivière

引用次数: 1

The Archival Sources of the Batalha Monastery (Portugal): Unique Collections for the Study of the Monument’s Restoration Work in the 19th Century 巴塔利亚修道院的档案来源(葡萄牙):19世纪纪念碑修复工作研究的独特收藏

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83072

Clara Moura Soares

{"title":"The Archival Sources of the Batalha Monastery (Portugal): Unique Collections for the Study of the Monument’s Restoration Work in the 19th Century","authors":"Clara Moura Soares","doi":"10.5209/anha.83072","DOIUrl":"https://doi.org/10.5209/anha.83072","url":null,"abstract":"The Monastery of Batalha is one of the most important Gothic monuments in Portugal. In the 19th century, between 1840 and 1900, it underwent extensive restoration work which significantly altered its features, as well as the memories of past monastic experiences. Despite the magnitude of the intervention, the work that transformed the former Dominican monastery into a historical monument of the Nation, was, however, subject to an exemplary, scrupulous and detailed work and management methodology. This was reflected in the production of an unprecedented documentary collection (textual, iconographic, object-based), mainly archived within the monument itself, thus allowing for a highly accurate reconstruction of the work conducted and an understanding of the criteria followed. By means of an integrated perspective, this study seeks to highlight these important historical sources, with particular emphasis on: their unique character in the context of the archives of Portuguese monuments; their role in the study of the restoration work on the Monastery of Batalha and in the history of monument restoration in Portugal in general; and the potential for interdisciplinary research that can be derived thereof, involving the latest technological trends.\u0000 ","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47835871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Memoria oral del pueblo Mapuche en la reforma agraria y la dictadura. Aplicación del archivo en el proyecto Dungun, instalación sonora interactiva 马普切人民对土地改革和独裁统治的口头记忆。档案在Dungun项目中的应用，交互式声音装置

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83058

Luis Urquieta Robles

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Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment 生活存档。印贺新太的档案:短暂与古老舞蹈重现的痕迹

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83074

Irene López Arnaiz

{"title":"Living Archive. Nyota Inyoka’s Archive: Traces of the Ephemeral and Ancient Dances Reenactment","authors":"Irene López Arnaiz","doi":"10.5209/anha.83074","DOIUrl":"https://doi.org/10.5209/anha.83074","url":null,"abstract":"The French National Library keeps since 1983 the personal archive of the dancer and choreographer Nyota Inyoka (Fonds Nyota Inyoka). This archive comprises twenty-eight boxes of documents, besides costumes belonging to the dancer, which are constitutive as material of enormous value for the necessary recovery of this figure that has fallen into oblivion in the history of dance. This article aims at providing a first approach to the Nyota Inyoka Archive by ramifying the study in two directions. On the one hand, it allows us to articulate some keys to her choreographic proposal and her theoretical conception of dance. On the other hand, it enables us to broaden the reflection towards the relationship between the archive and the dancing body. Nyota Inyoka's repertoire revolves around ancient cultures that refer mainly to traditions from ancient Egypt and South and Southeast Asia. Thus, the archive takes on an important presence linked to the discipline of dance in a double sense. Firstly, the ephemeral nature of this art favors the archive to become an essential element for dance research. Whilst if we take into consideration the choreographic process of the dancer based on visual sources from Egyptian and Asian art, her body is constituted as a living archive. In this sense, I will offer a reading of Nyota Inyoka’s work as a kind of avant la lettre reenactment of ancient dances.\u0000 ","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45966659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Catacumbas en museos: archivos documentales y fotográficos para la historia de la museografía 博物馆中的地下墓穴：博物馆史的文献和摄影档案

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Anales de Historia del Arte Pub Date : 2022-07-14 DOI: 10.5209/anha.83070

Chiara Cecalupo

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Hacia un cultivo expandido. Las ocupaciones botánicas de Vicky Benítez y otros modos ético-políticos de habitar 走向扩大种植。维姬·贝尼特斯的植物职业和其他伦理政治居住方式

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Anales de Historia del Arte Pub Date : 2021-10-18 DOI: 10.5209/anha.78456

Christian Alonso

{"title":"Hacia un cultivo expandido. Las ocupaciones botánicas de Vicky Benítez y otros modos ético-políticos de habitar","authors":"Christian Alonso","doi":"10.5209/anha.78456","DOIUrl":"https://doi.org/10.5209/anha.78456","url":null,"abstract":"Este texto analiza el trabajo de la artista y jardinera Vicky Benítez en el marco del proyecto curatorial Polítiques del sòl («Políticas del suelo», Centre d’Art Maristany, Sant Cugat del Vallès, 2019-2020), y más allá de él. La exposición parte de una investigación en el territorio que se propone reflexionar críticamente acerca de las dinámicas geopolíticas, biopolíticas y necropolíticas que determinan la existencia, y ensayar modos de vida que no impliquen dinámicas opresivas. Vicky Benítez construye jardines de especies de plantas alóctonas con variedades listadas en el Catálogo Español de Especies Exóticas Invasoras, e inscribe los discursos biológicos de erradicación de lo invasivo y la protección de lo nativo en el contexto sociocultural más amplio. Pivotando alrededor de los jardines, la artista lleva a cabo actividades participativas, como recorridos de identificación y formación en usos de plantas adventicias comestibles, talleres de construcción de huertos urbanos y comidas populares con malas hierbas. Recurriendo a la ecosofía de Félix Guattari como paradigma de pensamiento ecológico que permite la proliferación de nuevas formas de sensibilidad, relación, organización y acción social, argumentamos que el valor de las ocupaciones botánicas de Benítez radica en tres aspectos interrelacionados. En primer lugar, operan como dispositivos que permiten examinar los procesos de construcción de otredad que justifican políticas de control, represión y exterminio de formas de vida humanas y no humanas. En segundo lugar, desarrollan nuevas formas de afecto, experimentación y sostenibilidad de formas de vida no antropocéntricas. Por último, se implican en un cultivo sociobiotécnico que facilita la emergencia de subjetividades relacionales, creativas y transformadoras.","PeriodicalId":53993,"journal":{"name":"Anales de Historia del Arte","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47566998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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