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

This article proposes a critical reflection on the articulations between contemporary art artifacts and the archive, demarcating the tensions in the documentary repertoire linked to the recent history of Chile. We intend to give an account of the performative forms that declassified archives acquire when they are opened to the public and through artistic projects, in order to problematize the dynamic interaction between archive and repertoire based on the operations that art may offer. For this, we propose the study of cases whose particularities open towards a transdisciplinary methodology that combines aspects of media, performance, image and visuality studies

This article is the result of the research project Leteo: Relatos del perdón, that revolved around the concepts of storytelling, conflict and memory. In order to carry out the study, it was necessary to understand staged oral storytelling within the framework of its aesthetic, political and cultural relations. In this sense, a selection of short oral narratives was proposed in order to submit them to a process of interpretation. This hermeneutic challenge required an interdisciplinary methodology (sociocritical, semiotic and pragmatic) that would allow us to understand oral storytelling from its different dimensions. This search yielded different meanings around the compositional and architectural resources of this practice, such as metafiction, humor, irony, the creation of possible worlds. These meanings were not configured exclusively in the words, but also in their intentions and other extraverbal expressions.

The history of art, and more specifically that of theater, has been written from a patriarchalperspective and, therefore has been exclusive, discriminatory and sexist. There is aninstrumentalization of the presence of women in the arts and therefore a vague record of theirparticipation. The Colombian case is not the exception: the official memory does not give asufficient account of the role of women in theater. This article aims to address the contributionof women and of gender studies in theater, where both women who are artists and those whoare not, but who are part of the processes in the territories in different roles, have been a foundation that has allowed community theater to sustain itself.

This study examines the strategies and practices used by artists in Western Ukraine to promote and represent contemporary art during the late 20th and early 21st centuries. The focus is on the role of cultural and artistic institutions in shaping the value of art during a time of crisis and change in the hierarchy of these institutions. It uses a variety of sources, including catalogs, gallery brochures, private archives, and current bookstore products, as well as interviews with participants in these processes. We argue that the rise of contemporary art in Western Ukraine is closely linked to the formation of cultural capital in the late 20th century, through the participation of social, political, and bureaucratic capital. The study also looks at the ways in which artists and poets have transitioned from the «sphere of art» to the «sphere of culture» by becoming «stars» and creating their own institutions, such as independent curatorships, artistic environments for cultural dialogue, private galleries, publishing houses, and media formats

This article analyzes the representation of the act of teaching in the film Whiplash (Chazelle, 2014). We propose a reading that uses the semiotic concept of manipulation and defines specific elements around the processes of provocation, intimidation, seduction and temptation. For this, the main actors (teacher and student) and actants (manipulative subject and manipulated subject) are inscribed in flows of schematic actions. We describe a teaching model that uses persuasive mechanisms oriented to create borderline situations. This analysis reflects, finally, on the values that underlie the film and the creation of a jazz music culture and a vision of professional success that is based on the obsession with a perfect performance, all of which seem to validate a challenging style of teaching as a condition to overcome limitations and achieve the goal of becoming a musical genius.

The purpose of this paper is to glimpse potential in the production of meaning through an analysis of the circulation of images of classical works of art on social networks. The emphasis lies on the forms of appropriation of the works and the relationship they may have with a certain baggage of classical meanings, being, as they are, emblematic works of Western culture. It starts from a reflection on the performativity of images, distinguishing between the functions of representing and performing, and exploring the possibility that those images that appropriate the works can perpetuate a classical perspective or disarticulate them from a canonical load, thus allowing the deciphering of a wider framework of meaning.

Aída Carballo was a multifaceted Argentinean artist, whose production was mainly devoted to graphic works. This article proposes a reinterpretation of a singular corpus of graphic pieces by Carballo within the framework of the redefinition of engraving, and of modernization and questioning of the very canon of the discipline that took place from the 1950s in Argentina. To this end we consider the question of technical and iconographic resources, and their inscription in certain validation circuits, as strategies in Carballo’s graphic production.

Traditionally, the bodily differences associated with the most disadvantaged members of soci ety have been seen as a threat to the existing social order. This perception has been reinforced both by plastic arts and by literature, and it was not until well into the 18th century that there have been significant changes to this state of things. This process of change in the perception of disability will be reinforced with Walter Benjamin’s thesis VIII, where the tradition of the oppressed is vindicated, giving them a central role in history. The translation of these ideas in the arts world will be reflected in the «expanded field», where the so-called marginal bodies take center stage. This tendency is reflected in the work of Joel-Peter Witkin, which grants a central role to the disabled, in addition to investing them with a sacred character.

Recent fiction cinema has resorted to the image of water associated with women to portray different aspects of the female condition, especially those related to free sexuality. However, this association has another component that is often overlooked: madness. The woman-water madness triad, understood from a Foucaultian perspective, implies a type of representation where female sexuality is still conceived as taboo within modern societies. In this way, those female characters who have an independent sexuality are condemned to the waters, which bury everything that is considered irrational by the Western frame of mind. The study of three of the most important films in the filmography of the last 30 years (The Piano, The Hours and The Shape of Water) reveals the complexity of this particular type of representation.

In this article we show the essence of Édouard Manet’s pictorial modernity. His painting rebels against the basic concepts of previous painting, hoisting a modernity that consists, first of all, in painting criticizing itself in order to discover its own essence. Manet discovers that, in addition to this self-reflection, painting must become flat, have a theme, reflect contemporary life, and finally de-idealize art in general. In this article we analyze each of these characteristics andpresent the de-idealization as the final synthesis of Manet’s pictorial modernity. With it, Manet claims that art must become truly modern, that is, just art.