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

Número 9

The movement of Zapatista rebellion in Chiapas, Mexico began in 1994, succeeding in generating a change in Mexican society by valuing indigenous liberation practices. However, a state of emergency is instituted in Zapatista territories according to laws that grant amnesty and regulate the legal vacuum. Certain Mexican artists such as Erick Beltrán, Gabriel Kuri, Abraham Cruzvillegas and Pablo Kubli, contribute critical reflections with works sustained in the context of pure violence of the State. The theoretical framework is constrained by the theories of Carl Schmitt, Walter Benjamin, Giorgio Agamben and Achille Mbembe, who contribute to the understanding of the state of exception that the State implements by modifying sovereignty and Human Rights. The method used in the article corresponds to the reception of literary texts. The artistic pieces that are integrated by Pablo Kubli represent the interdisciplinary contribution of the social sciences and the practice of art, with images, schemes and interventions that are argumentative reflections of the environment of globalized violence, and of social resistance to the paradigm of modification of autonomy in intervened regions. In addition, a comparative approach with states of emergency of globalized countries is proposed according to the events of September 11, 2001 in New York and March 11, 2004 in Madrid, among others. Starting from the Mexican experience and from global countries, the term of sovereignty is modified by the violence of the State over territories cut off by the permanence of the state of exception and restrictions on constitutional guarantees.

Our culture of social and affective relationships brings together many concepts and words whose meanings we generally believe to share. This is the case of the idea of “recognition”. We may know what it means, but not alwayswe know how we have elaborated its meaning. The objective of this work is to analyze how concepts are being built, elaborated, reworked some ideas and their meanings. For this reason, a group of ten adult participants is invited to try to express what they believe “recognition” means through two symbolic forms of expression: drawing and body movement. We also ask them to writetheir process of elaboration and construction of that idea when they draw and express it corporally. The different ideas and meanings which emerge, as theyare modified from both systems of expression, allows to approach their particular role in the processes of thinking and feeling. We study how participants discover and reformulate certain representations and re-signify tothe form of the expression used.

The look of the popular culture to art has always had for the creator the contrariety of the mockery and the reward of the diffusion, to make itself known in the new media of masses multiplying its public, halfway between the admiration and the ridiculous. Painters and sculptors checked it for the first time at the end of the 19th century, between official and specialized criticism and the most popular and apparently less objective of comediansand their humorous interpretations. One of these artists was the young Pablo Ruiz Picasso, with some unknown graphic criticism that give new information on the complexity of his first Spanish artistic stage and theimportance of illustrated magazines in the visual culture of his beginnings and in his professional world. The data collected in the hemerography of the time make up a narrative different from the one officially admitted 

This study is about Franz Kafka’s artistic facet. It explores the knowledge that the author possessed about this subject. For that purpose, this research focuses on the analysis of one of his drawings, Goethe’s Garden House, in The star, in Ilm Park, in Weimar. Before addressing the central point of the text, it is noted that Kafka knew about Art History, that he interacted with artists, that he had a huge inclination for the plastic arts and that he took drawing lessons. Goethe is mentioned (Italienische Reise) as the model present in Kafka in his Reisetagebücher. It is remarked in this study the emotional state in which Kafka was when making the previously mentioned drawing.

This article presents an analysis of contemporary performance art carried out by women in Galicia; a complex issue if we consider that the nature of the discipline is a practically unexplored matter. Our reflection begins by defining the typology and particularities of Galician performance art. After that, we address the performance art context in Galicia and, finally, we examine the production of three artists that we consider essential: María Marticorena, Ana Gesto and María Roja. Our methodology emerges from a thorough search of available bibliographic resources, updated fieldwork through interviews, and tracking of photographic and videographic documentation. We have opted for a qualitative interview, focused on the artists analysed in the article which can be consulted as "Annex I", attached at the end of the text. This article unveils performance art that starts in the second half of the first decade of the new century, with the almost exclusive presence of women developing heterogeneous themes but influenced by the Galician cultural context. They haven’t had institutional support or been part of self-management movements, so frequent in other parts of Spain.

The aim of this text is to generate a space to reflect and theorise about the artistic aspects of social work. In our contemporary context we can envision the aesthetic possibilities which operate during the intervention process in social work, specifically in the relational area where the subjectivity of the social worker plays an important role in the transformation of the Other. Some current art practices, in line with paradigms derived from complexity, postestructuralism and ecological theories, give us some keys as to how to revise the aesthetical condition of social work. Thus, from the grounds of artistic experience and through a conceptual development of the aesthetics of the art world, we explore social work from a new perspective and aim to offer a different outlook on this field. It is when art operates in a person’s vital context that the everyday reality strengthens our relationships with the world. In the same way, when the social workers project an aesthetic look on their actions, they accept the exercise of their profession from a dimension which is autonomous, singular and, possibly, artistic.

El Encuentro Internacional de Libro Arte PURE PRINT Madrid. Book Art Edition 2017, tuvo lugar en Madrid del 24 al 28 de abril de 2017. Con este motivo fueron invitadas a participar docentes grabadoras de diferentes instituciones de enseñanza superior para pensar conjuntamente un Libro Arte colaborativo.

The main emphasis of the article is on the origins of performative manifestations until they reached a conscious conceptual development with repercussions on contemporary artistic practices. Here we will see how the figure of Oskar Schlemmer, who had started as an artist in the visual arts,was gradually metamorphosed until concreting performative and action experimentations that carried out representative expressions of the utopian laboratories within the vanguards of the first half of the twentieth century; thus contributing to the creation of the notion of performances with a wideand rich possibility of using materials and with a conceptual depth of great depth in constant relation with the most groundbreaking philosophical currents of the time. In addition, he processed and carried out, alone or with the collaboration of several artists, all the known modalities of creative expressions that occurred in parallel with the technological development. And to this was added the research component on the body, human syche, biocentrism, color, materials, music, lighting and prosthetics, among otherpoints of interest, and on which will delve into the present work.

We use current technology and contemporary reading methods to decipher and reveal cartographies that run the risk of disappearing into the landscape. Technology has facilitated the streamlining of space and time, resulting inthe reduction of its magnitudes, as well as uniformity in urban geography. Given the propensity for the data visualisation, we consider it is opportune to show and rescue data that were key in times gone by. Reconciliation withour territory can help us developing new narratives and contributing to the shaping of a cartography with contemporary concerns and interests. This article presents an investigation of the landscape associated with the watersystem used in the Valencian orchards and agricultural area. This extensive water system is of considerable historical and cultural relevance. Specifically, we will focus on the Rascaña irrigation canal, one of the eight canals that formed the layout of the city and its surroundings, through studying and analysing the route the canal takes. We have made several field recordings to collect data for the route, with geotagged photographs, together with the subsequent completion of an interactive application showing the photographic route of the canal.