Journal of Iberian and Latin American Studies, 2012

This article explores Catalan artist Joan Miró's “assassination of painting” as a protest against traditional aesthetics through experimentation in radically new artistic forms. Although the impulse to subversion can be traced throughout the artist's career, the study focuses mainly on Miró's paintings, collages and assemblages of the 1920s and 1930s. The works are discussed in the context of the avant-garde milieus of Barcelona and Paris, and in relation to the political situation across Europe. This is a slightly modified version of the first Centre for Catalan Studies Annual Lecture, given at Queen Mary University of London on 1 March 2011 and funded by the Institut Ramon Llull.

Anais do VI Simpósio Nacional de História Cultural Escritas da História: Ver – Sentir – Narrar Universidade Federal do Piauí – UFPI, 2014

Tentando me aproximar da temática do VI Simpósio Nacional de História Cultural, cuja proposta é a de pensar os problemas envolvidos nas escritas da história, sobretudo, como as escritas da história cultural respondem às mudanças ocorridas nos comportamentos, nos valores e visões de mundo, nas formas de conhecimento do real, nos regimes de verdades, nas experiências estéticas e expressões artísticas, nas crenças e mitos, vamos tratar de José Silveira D’Ávila, artista catarinense, cuja obra fez parte da pesquisa Academicismo e Modernismo em Santa Catarina.

Arte, Individuo y Sociedad, 2019

This paper aims to reflexively tackle a specific artwork: The Widow, the most renowned, yet under-studied, sculpture of António Teixeira Lopes, a prominent artist of the Portuguese nineteenth century. Therefore, the analysis of this piece, based on several inquiring procedures believed useful to all art historians, is converted into an epistemological exercise. Firstly, the Romantic sensibility is characterised, alongside the ponderment of the widow's representational allure. Women and death's perception in the nineteenth century is thus brought into question. Moreover, the social condition of widows and their identity codification is considered so that the relationship between reality and representation is critically appraised. Secondly, the focus shifts to the sculptor himself and his creative process. At the time living in Paris, his potential connections with death experiences, his professional goals and the pressure of the artistic environment contribute to explain Teixeira Lopes' selection of this subject. Finally, the sculpture itself is thoroughly examined, questioning every formal choice and its meaning, searching for secular and contemporary visual stimuli which could have deliberately or unconsciously interacted within the creative process. To conclude, the need to approach an artwork simultaneously as unique and as a historical object in its turn chronologically transversal is stressed. [es] Este artículo analiza pormenorizadamente la pieza escultórica La Viuda de António Teixeira Lopes, que, aunque es una de las más famosas de este autor ha sido, a su vez y de manera sorprendente, una de las menos estudiadas hasta la fecha. Así, hay que señalar que en este texto no sólo se ofrece un estudio analítico de la citada pieza, sino que se presenta también con una visión epistemológica de la historia del arte. La Viuda se caracteriza por su sensibilidad romántica por la elección del tema, del que destaca la consideración de la condición social de las viudas y la codificación de su identidad, pero, al mismo tiempo y de manera crítica, se evalúa la relación entre arte y realidad. Así, se justifica que esta obra, que fue concebida en París, tenga un significado especial en relación a los episodios biográficos del autor y su relación con la muerte, así como sus inquietudes profesionales y circunstanciales del entorno artístico que explican la selección del tema. Para completar este análisis, en este artículo la escultura es examinada a fondo, cuestionándose las autoras el significado de cada opción formal, buscando estímulos visuales que pueden haber actuado deliberada o inconscientemente en el proceso creativo. Para concluir, se enfatiza la necesidad de abordar una obra de arte como única y, simultáneamente, como un objeto histórico cronológicamente transversal.

Grabado y edición, # 46, 2014

Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean, 2019

Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women's lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America's artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art. [es] Cuerpos de mujeres como territorios dominados: interseccionalidad y performance en el arte contemporáneo de México, América Central y el Caribe hispano Resumen. Desde la década de 1980, artistas de América Central, México y el Caribe hispano han explorado la conexión entre la violencia imperialista y la violencia de género a través de propuestas artísticas innovadoras. Sus investigaciones les han llevado a presentar el cuerpo de las mujeres como una metáfora que representa, por un lado el territorio invadido y el cuerpo de las personas que viven en el territorio y por otro la incursión del patriarcado en la vida de las mujeres. Dicha tendencia ha recibido poca o ninguna atención y es importante que entendamos por qué ha sucedido y, más importante aun, cómo las artistas proponen que examinemos esta doble violencia vivida por mujeres que viven o han vivido en países con un presente o pasado colonial. Las imágenes que resultan de las propuestas artísticas que se estudiarán son poderosas, interesantes, y una gran contribución al legado artístico latinoamericano. Este estudio propone que se estudie además si la tendencia está presente en las prácticas visuales de otros territorios pos-coloniales o coloniales, ya que es posible que la tendencia estudiada no solo pueda ser entendida como un elemento del canon artístico latinoamericano, sino de todo el arte no-occidental.

2020

espanolSegun una normativa de la ciudad de Sao Paulo, los edificios vacios o en desuso no cumplirian su funcion social y, por ende, podrian ser ocupados por personas sin casa. El caso analizado en este texto va mas alla, pues a la vivienda suma una comunidad de produccion artistica. Y es justamente esta condicion, en terminos de derecho, la que pone al edificio en riesgo, pues al haber mas de una actividad en el edificio no se estaria cumpliendo su ‘funcion social’. EnglishAccording to Sao Paulo regulations, empty or disused buildings are not fulfilling their social function and, therefore, can be occupied by homeless people. The case analyzed in this text goes even further: to the housing is added a community of artistic production. Which, in terms of the law, is precisely what puts the building again at risk, since by having more than one activity, it could be argued that it is not fulfilling its ‘social function.’

Mico-Historias and Macro-Mundos, 2010

Yulinda nº1, 2019

María Laura Rosa presents an article on the work of Mónica Mayer and Magali Lara, Mexican artists related to the second wave of feminism, interpellated by the different feminine representations that surrounded their context. In their production, both of them turn visible the seismic times that their generation went through, in which the prescriptive images of femininity collided against the emancipatory airs of the feminist movement, in search of the change of roles of women within the family and professional spheres. Thus, from the perspective of María Laura Rosa, we acknowledge the strategies used by the artists around the portrait, the use of religious imagery, the inclusion of words and schemes as subversive systems of thought, as opposed to the disciplinary and scholastic plans.// María Laura Rosa presenta un estudio sobre la obra de Mónica Mayer y Magali Lara, artistas mexicanas inscritas en la bisagra de la segunda ola del feminismo, interpeladas por las diferentes representaciones de la mujer que circundaban su contexto. El trabajo que producen deja ver los tiempos telúricos que atravesó su generación, en los que las imágenes prescriptivas de feminidad colisionaban contra los aires emancipatorios del movimiento feminista en busca del cambio de roles de la mujer dentro de los ámbitos familiar y profesional. Así, desde la mirada de María Laura Rosa, constatamos las estrategias utilizadas por las artistas en torno al retrato, al uso de imaginerías religiosas, la inclusión de la palabra y de los esquemas como sistemas de pensamiento subversivos frente a los planes disciplinarios y escolarizados.

Arte, Individuo y Sociedad, 2016

Starting from the famous and enigmatic quotation of the Aristotle's Poetics, who argues that the human has a natural desire and pleasure to see corpses if mediated by art, is intended to show the relationship between the attraction for the horror and some contemporary art practices surrounding the depiction of death, particularly with regard to the ultimate use of the human corpse as an artistic resource. Avoiding any kind of ethical approach or questioning of the limits of the artistic production, is meant to highlight the phenomenon through the examples brought out by the work of some contemporary artists such as Andy Warhol, Eric Fischl, Damien Hirst, Von Hagens, Andres Serrano, Joel-Peter Witkin and Teresa Margolles: From those who use the corpse in and turn it in something aesthetically pleasant, to others who turn human corpses in sculptures of scientific value, and further other kind of artists who assume the morbid and dramatic life of the corpse in their art production as something structural.

Hispania, 2015

Pilar Miró's positions in the public sector and the film industry are an indication of the rapidly evolving roles of women in Spain during the mid-1970s through the 1980s. Most significant, and the focus of this study, is how Miró as director of El pájaro de la felicidad reflects the transformation of gender constructs during that period. Miró's artistry succeeds in expressing the protagonist's inner turmoil as she counters normative gender behavior. An intricate design of chiaroscuro, symbolism, the presence of the camera, intertextuality, and the foregrounding of art as process makes palpable the protagonist's emotional state of disempowerment and her resolve to find an elsewhere where viable positions of subjectivity are possible.