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

Salado es el punto de partida del Simposio Internacional de Escultura de Puerto del Rosario, que cambia de nombre, de formato y hasta de estilo, pero sin renunciar a sus orígenes, como uno de los referentes del otoño cultural en toda Canarias.

Memento mori es una exposición para aprender de la simbiosis entre la experiencia vital del artista y su creación, y la procacidad e irreverencia de la muerte; verán aquí otros intentos de vencer el temor que produce.

Seis miradas femeninas han sido el resultado de la selección de todo el alumnado del Ámbito de Pintura de tres promociones (desde 2019 a 2021) del Grado en Bellas Artes, de la Universidad de La Laguna: Emma Jane, Lua Tirsa, Guadalupe Martínez, Irene Morales, Cristina Ojeda y Elia Estévez. Coordinada por el profesor de Pintura Narciso Hernández, en colaboración con el resto de profesores de Pintura de la Facultad de Bellas Artes, ésta es la xi Edición.

Presentación de tres piezas performativas de arte sonoro: Muted Sound Art (01:07 min), Zapatos Sonoros (24:13 min) y Zapatos Sonoros (24:55).

This research aims to contribute to the understanding and control of the processing of ma-terials involved in artistic casting by microwaves, in order to facilitate this type of energy sources in the thermal processes of dewaxing. Specifically, the behavior of small samples made with commercial refractory coatings on simple wax models was studied. An adaptation and compatibilization of the conventional technique of fused jewelry was designed to validate an integral treatment with this energy alternative. On the one hand, a suitable time/power curve was designed for the initial dewaxing and drying of these pastes, taking into account the dielectric properties of the water present in their confection. On the other hand, a feasible procedure was studied for the development of their burning, through the use of hybrid heating using silicon carbide (SiC-β) as a susceptor. In order to apply a step temperature, a double muffle combining transparent and absorbing materials with the capacity to reach 750°C with MW power of 700w was fabricated. The results obtained intensified the interest in studying a thermal processing for the dewaxing and firing of refractory linings with larger models and more complex shapes oriented to jewelry and small format sculpture.

In Argentina, the main insects that cause biodegradation in heritage objects are beetles (Ano-biidae, Coleoptera). The most frequent species in texts are Tricorynus herbarius (Gorham) and Stegobium paniceum (L.) and in working woods are Anobium punctatum De Geer and Xyletinus brasiliensis Pic. The damage in texts corresponds to galleries in covers, spines and pages and circular holes in spines. In wood they also generate galleries that cause the weakening of the support. Silverfish (Zygentoma) and cockroaches (Blattodea) produce superficial scrapes on texts and faecal spots, and larvae of the clothing moth Tineolabisselliella Hummel (Lepidoptera) feed on bookbinding fabrics. The spider webs collaborate with the accumulation of dirt and the remains and feces of the aforementioned fauna represent a substrate for chemical contamination and the development of other biodeteriorant organisms. The specific identification, the knowl-edge about the biology and the detection of signs of the actions of these insects, constitute the previous step for the implementation of preventive and curative conservation measures with a view to stopping, minimizing or counteracting the deterioration, ensuring the protection of the materials. Illustrative practical examples of objects of heritage value from Argentina are presented.

Alkyd oils are a fairly recent type of paints, similar to traditional oils, yet with a faster drying time. Just because of its relative novelty, no pictorial techniques and materials handbook can be found which could show an artist how to produce their own alkyd oils, which indeed does happen with acrylics or traditional oils. The present study introduces a research that opens doors for an economic and accessible binder by means of which the artist can produce their own alkyd oil paintings. To this end, a wide sample of alkyd resins has been selected and they have been tested through several laboratory analyses and pic-torial tests until a combination of alkyd resin and linseed oil, most perfectly suited to the objective of the research, has been found. Once this binder was found, it has been studied in depth by using it to produce paints with a wide range of pigments, and explaining both their individual formulation and their characteristics of Body and viscosity, Gloss, Texture, Flexibility and Drying. Finally, a palette with the most suitable pigments for self-producing alkyd oils has been proposed.

Art would set in motion the imagination of the plastic creator, bringing to light from consciousness a series of symbolic images related to the descent that are usually accompanied by symbols of intimacy as protectors on this journey into our essential being. These artistic productions would be created from the primordial experience of the artist whose nature would be expressed through mythological figures that would function unconsciously and that would help us discover other parts of our psyche where certain theologies would operate, which would demonstrate that these symbolic representations would have concomitances with the manifestations of human spiritual activity studied in ethnological research. In this article we will see which are these archetypes that emerged from the depths of the psyche through children’s artistic activity, proving how these images would have a great influence on our life since they would constitute symbols of transformation that would harmonize our consciousness.

Printmaking is currently undergoing an unprecedented renewal, as a result of a contemporary printmaking’s updating process, driven not only by new techniques and technologies but also by an interdisciplinary approach. On the other hand, there are some artists working under the purest techniques who are focusing on strategies that question traditional printmaking’s foundations, heading towards an expanded understanding of printing that breaks with the established limits: redefinition of the series, experimentation with alternative supports, overcoming the two-dimensional plane towards graphic installation, hybridization and trans-disciplinarity, etc. Digital technologies have barged into the printmaking field, making new tools and work strategies available to the artist, saving time and achieving greater tech-nical improvement. These qualities are producing changes on how we understand woodblock printing, both in the way of conceiving the artwork and in the technical execution of it.

This is a study of several visual works under the theme of shooting and war as a drama and as a brutalizing element that begins Goya with his Third of May 1808. The common thread is the mimesis of the formal elements in different arguments and artistic presentations located in the xx and xxi centuries. One stream maintains a formal relationship of rows of executioners and victims and another starts with the Guernica who only takes from the Third of May some formal elements while the executioners are a reference and the victims are bombed and not shot. These two currents are maintained in the paradigmatic examples studied under different artists, means and approaches, going from imitation to the concept of copying as a culmination of mimesis. Finally, the artist Ballester empties the reference paintings of their figures that only reappear as ghosts in the memory of the look.