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

The main characteristic observed in the mature production of Pedro José Pradillo, reflected in the 2019 exhibition in Guadalajara, regardless of his constructivist periods, is his fidelity to conceptual art; also the deep analysis that deals with the meaning of art - in particular that elaborated in the twentieth century - and the role of culture in Western society. His interest, as in any other artist of that movement, focuses on achieving images and objects for fascination from the combination of elements found that, beyond the particular aesthetic resulting, raise unwanted concerns in the viewer and cause He reasons for reflection. His assemblages place him, at the same time, within the current of object art.

The French city of Nantes and its metropolitan area constitute a global epicentre in matters of public art, which could also play a referential role in the distinction between ‘participatory’ and ‘collaborative’ art, two adjectives needing a social and terminological disambiguation. Here they are exemplified on the one hand with singular sculptural-architectural installations made by international artists with the participation of local people, and on the other hand with compounded murals of Street art painted in co-laborative association by collectives of artists with art students, etc.

We would like to introduce the artistic experience Dressing Up the Balconies, a work intended for citizen’s participation that was developed during the early days of lockdown. This allowed us to remain united when sending a message of welcome and thanks for the people looking after all of us. The structure of the following text leads us to contextualise the activity by analysing the meaning of the exhibition spaces that shelter our project: windows and balconies. We continue by reasoning why this proposal was tackled with the approach of participatory art. Thus, the text puts forward some thoughts on collaborative practices and the use of handicrafts therein. The activity became a way of relating rooted in art, and each creation was a node in the net that permitted us to keep making art together.

The article presents a collection of the author’s archival works, the meaning of which has become relevant in the face of socio-political changes in Poland. Critical artistic considerations related to national identity or relations between the state and the church are also discussed. The artist’s attitude towards political discussion and a closer look at the creative processes is also examined. Cultural projects and selected artistic works are identified, and grassroots social activities with the participation of artists are described. The ongoing media discussion and social mood is outlined. Included is a visual (photographic) presentation commenting on the issues highlighted, with particular emphasis on the artistic works of the author.

We tackle the problem of how to think of a phenomenology of the unseeable, understanding this term in a strong sense: It is about an immanent invisibility, that of absence, that of the subjunctive. We investigate to what extent the unseeable is related to absence, what does it mean to become aware of that absence, and to project meaning out from it. To this, we make use of recent advances in the field of astrophysics: the "observation" of objects in nature that make, in fact, the immanently invisible; objects that are defined by the absence of the very space-time in which they are.

Nieves Blanco is Professor in the Department of Didactics and School Organization of the Faculty of Education Sciences at the University of Malaga. She has a long teaching and research career that has led her to participate in more than 30 national and international research projects, whose results have been reflected in a hundred publications, including scientific articles, books and book chapters. Most of her research activity has focused on three areas: the curriculum, teacher training from the perspective of teaching knowledge and coeducation. In the interview, Professor Nieves Blanco talks about rigor, flexibility and trust, as the three fundamental pillars in research which she has learned throughout her career. Thus, for her to investigate is to investigate about oneself, which means that research is a work of creation that implies the researcher. It is a perspective that demands a disposition of understanding and not the one that tries to discover and confirm theories. Besides that, the author explains another idea about the position occupied by the researcher in the research process: “You are your first research tool”, which means that the researcher is always present, he/she is in the investigation. In short, the author brings us a vision about the research that adjectives as “educational”, that tries to take care of the meaning of what it tries to understand, that helps to enrich the professional criteria and that makes it possible to maintain a real and careful contact with the live practice of schools and different educational contexts.

Editorial presentation of Volume 1 number 1 of Margins, Education Magazine of the University of Malaga. Second issue of the magazine in which the question is addressed: Where is educational research going? The current drift of research in this field is questioned from its positivist orientation, vindicating the meaning and principles of qualitative research in its different concretions.

Review. Díez Navarro, M.C. (2019) Caramelos de Violeta. Hacia la dulce metamorfosis de nuestras escuelas. España: Graó

This visual essay is composed of a constellation of images and words/images obtained from social networks. The logic is provided by the digital system and its formulation is the result of the redundant use of digital technology itself through desktop publishing and publishing programs. We proceed on the basis of two ideas: the first states that the global community is a collage/assembly of images where the medium is the massage that creates a value system based on perceptions; and the second states that we need to open up depth of field and slow down our perceptive acts so that the images allow us to build a common place of political action. Our guides have been the philosopher and theorist Marshall McLuhan and the philosopher and intellectual historian Susan Buck-Morss.

This photographic series or photo-essay is the result of the research project La escultura como interfaz histórico de luz sólida of the Plan Propio of the University of Málaga, which consists of experimental artistic research based on the language of sculpture and its hybridisations with other disciplines, such as photography. To do this I have used methodological tools such as site-specific intervention, Photolumino-kinetics and the possibilities that expanded field sculpture offers in terms of the narratives that the significant object of the chosen environment can offer to what happens in it.  Photolumino-kinetics is a hybridisation between sculptural and photographic language, it is the theoretical corpus of my main thesis Photography as a medium for sculpture in movement, and one of my main lines of artistic research. The plastic experimentation focuses on the photolumino-kinetic intervention, or photography in prolonged exposure while acting with luminous elements in movement, in different parts of the building, arches of its façades and internal areas. Through a dialogue with its architecture, with the chosen environment, the artistic work transfers meaning to it, increasing its monumental and statuary charge, and this, in turn, endows the artistic work with poetic narrative.