Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.    

Gerhard Richter, like many other contemporaries, has taken the photographic image as a starting point for his artistic search. The pictorial use he has made of photography or, if you will, his photographic conception of painting come into conflict with the omnipresent culture of the commercial image of our societies. While its Atlas presents us the world under the signs of  banality and transience, his abstract paintings seek access to certain performativity without issue.    

This article seeks to reflect on the discussion between art and city based on the cultural production that emerges in the urban peripheries. In particular, the ones originated in Greater Buenos Aires, Argentina. For this purpose, I analyse a variety of artistic practices of a social and cultural organization known as Popular Library La Cárcova. The aim is to present forms in which art is embodied in these territories. To this end, I present the study of the Province of Buenos Aires still as an incognita. Secondly, I introduced the context of the organization. And finally, I analytical and empirical tensions in the productions and interventions of the chosen actors. The ultimate purpose of this paper is to contribute to the debates on artistic productions in the urban peripheries, trying to transcend those that exhaust the understanding of art under the conceptions of "the aesthetic" and "the legitimate". 

The great human exoduses that took place between the three islands that make up the Hispanic Caribbean (Cuba, Puerto Rico and the Dominican Republic) and the United States throughout the second decade of the twentieth century originated a Caribbean territorialization of significant presence. This way, many texts began to testify the sociological processes of Caribbean migration and, at the same time, another literary typology of literature did start to focus on describing in detail the edges of female displacement. This is how How the García Girls lost Their Accents (1991), by Dominican-American author Julia Álvarez, has emerged as a canonical work of female Dominican displacement in the United States. However, far from being limited to occupying a place within the artistic corpusof female migration, the work may also be considered as an anthropological text of knowledge because of its intention of focusing exclusively on the integration of Dominican women in The United States, which also acts at two levels: testimonial genesis and commercial interest. The article, therefore, proposes to analyze Álvarez's work as an anthropological dissemination text following the annotations of Australian professor Joel S. Khan.

We should not find it strange, that it is in the cemeteries where we can find the most remarkable artistic representations of death. The figure of the death throughout history has always been charged in multiple ways. As it has always happened in other areas, in the funeral art you can see a combination of cultures, a fusion of ideas, forms. This is caused by the many civilizations that have lived in the same territory and have coexisted for a long time. Every civilization has always tried, even continues trying, to discern the unknown. This is incomprehensible to human being, trying to represent it through imagination, with the aim of making it acceptable and to calm that fear of the End, and the point of no return. In this article we are going to focus our attention on two sculptural manifestations of La Muerte, both located in two different cemeteries and at different times: "The Last Breath" in the Cemetery of Aveiro and "The Kiss of Death", in the Cemetery of Poble Nou, Barcelona.

Analysis of the most outstanding Greco-Latin mythological and artistic elements in Saint Seiya(The Knights of the Zodiac) by Masami Kurumada (1985) and Sailor Moonby Naoko Takeuchi (1992).

The oil paintings with scenes of the history of the Alicante’s Santa Faz made by Juan Conchillos Falcó (1641-1711) for the Monastery of Santa Verónica (Alicante) are one of his masterpieces. However, despite their excellent state of preservation, their importance and, particularly, their narrativity, they have hardly been studied. Therefore, in the following pages a new interpretation of the meaning of the same is proposed based on the contemporary sources and the circumstances in which they were done, trying to analyze their meaning and their importance for the reivindication of absolute latry to the Holy Face made by Alicante’s council.

Architecture as a discipline is no longer what it was; With the artistic changes experienced since the second half of the 20th century, everything has mutated into new paradigms in which novel ways of doing and building are conceived. An example of this is the appearance of inflatable architecture in the 1960s with projects such as the Instant City of Ibiza by the architect José Miguel de Prada Poole. In this article we will see some current projects that continue to reinvent the way of building.

Nowadays, the intervention and importance of art in videogames has been (and is) an artistic revolution. We have moved from the interaction to the illustrative action of the scenes and characters, from the pixel to the vector or vice versa, arriving to the creation through the digital tool that has been a great rebellion in all the words in art and also in the History of Art. Therefore, the present study aims to bring the current digital art used in videogames as new artistic productions in a brief and concise manner.