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

Editorial

In order to weave this discussion it is essential to corroborate that art has been a concept, a notion or even a controversial category for anthropological theory since its formulation and (re) formulation and subsequent epistemological engagement. Through this, anthropology has often been among the recognition of the cultural uniqueness of objects and practices that it could not qualify as art without falling into ethnocentrism, reductionism, and the effort to compose so broadly that they include a variety of human and nonhuman practices in painting comparatives of aesthetic experience. To leave the space defined by these two discourses, Alfred Gell, the main proponent of Modern Art Anthropology, suggested that the experience of art has to do with a special form of agency attribution to objects and images. Thus, we can consider that this phenomenon may be the starting point for developing a true anthropological theory of art, built on the specificity and particularity of the discipline and its conceptual tools. So to speak, the approach raises questions about the definition of the concepts of agency, personality, and materiality that undermine other versions of cultural critical analysis. Therefore, this article seeks to conduct a historical investigation of the development of the discipline Anthropology of Art, going through different theories, traditions and perspectives, having as its driving force the Guarani material culture, art and cosmology of Mato Grosso do Sul.

The dossier Culture and Democracy: convergences, conflicts and public interests, although linked to themes and temporal problems close to what we are experiencing in the immediate present, covers a broader temporality that involves the different intricacies that make up the structure of the world and the modern State. Since the bourgeois revolutions, which marked the emergence of a new society, men and women in various geographic spaces have gone through different types of political instabilities, which has generated many intellectual debates in addition to frequent struggles and disputes over ways of understanding the power of action of people in the public space.

The objectives of this research were: a) to reflect the place of the indigenous in the history of Brazil that still teaches “discovery” and not invasion, as the facts show; b) discuss how school education was used to conquer the indigenous people through the imposition of another language, other customs, another culture and losses that occurred in the process. Research based on authors who defend another view on “discovery” is justified, since there were already people inhabiting this land. The research is of a qualitative nature, using the literature review. For the development of the work we are based on the following theoretical references: Cunha (1995); Freire (2004); Gomes and Rocha (2016), among others who discuss the achievement through school education and the losses incurred in this process.

One of the most important hagiographic iconographies in Christian art is that of Saint John the Evangelist. By means of this article it is tried to review it in the beginnings of the sculpture of the Granada school at the end of century 16th and the start of the 17th. The model repeated almost exclusively will be related to the scene of Calvary. The historical events and the peculiar context of the recently conquered Granada, will determine the use of this prototype of sculpture in favor of the evangelization of the territory. Along with well-known sculptures, in this journey by joanic iconographic type, new pieces are presented trying to propose an attribution to them.

In this work there are announced several documents around the order and execution of two silver lamps, destined to Villaviciosa´s chapel and the Chapel of the Sacrarium, both in the Cathedral cordobesa. This order was realized by post to the Pious Work, founded dy don Juan de Valderrama, in her there had remained established the making of these pieces in the year 1647 with the silversmith native of Cordoba Gonzalo de Alcántara. The original drawing made by the master of the same in also presented. 

This paper presents a new sculpture of Saint Didacus of Alcalá preserved in Sanlúcar de Barrameda, at the Church of the Convent of Saint Francis, which is attributed here for the first time to Juan Martínez Montañés. The new work is analyzed in comparison with other works of the same iconography related to the aforementioned artist. In addition, based on various evidences, a chronology around 1590-1591 is proposed, which makes this new sculpture one of the artist's earliest preserved works. 

The year 2010 was significant for flamenco: it enters at the Representative List of Intangible Cultural Heritage and Enrique Morente dies. Besides, we should add a singular fact, Morente performed with two members of Sonic Youth, on 2 of February, an unusual performance at the Art Center May 2 of Mostoles, where “primitive” flamenco and new flamenco dialogue with the experimental rock band from New York. 

The Fortunato Depero advertising pavilions were a synthesis of two research lines on Italian futurism. The first, referring to architecture, was based on the heritage of the “Manifesto dell'Architettura Futurista” (1914) by Antonio Sant´Elia, as well as his and Mario Chiattone's projects. Depero rethought his problem based on the concept of transience as an argument for creating ephemeral architectures. The second, determined by publicity, visualized it as an element on which the mass media would articulate the construction of the world. The publicity pavilions were one of his most recognizable creations, and set a pattern that would be repeated in the movement, in similar artists, and in later models. 

Published works on late sarcophagi have evolved since the 20th century. Gradually, more studies focused on the iconography and aesthetics have been published, but they do not carry out an overview of the measures, ornamentation and material within the same geographical area. This study aims to gather the largest number of data (artistic, metric, iconographic) on the sarcophagilocated in eastern Bética in order to provide a new overview of these late- ancient pieces.