Examinando por Autor "Sanabria, Gustavo"
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Ítem Aquí no se habla de políticaBarrios Martínez, Sergio Leonardo; Sanabria, GustavoThis work is based on the author's experience and a brief historical review of different events in the country to analyze the notions, commonly extended, of the "political" concept and the origins of these notions, to try to find an approach that allows to frame this concept. separating it from ambiguous definitions such as: everything is political or all art is political. The work is divided into three parts: the first one is a journey through different experiences that brought the author closer to politics, the second, reviews, through anecdotes of the institutionality of the nation, how it has been shaped The notions of politics that exist in the context and in the third, the concept of art and its relation to politics are introduced and in turn the plastic result of the previous analyzes is exposed.Ítem Ecuación de la máquina fallidaEnciso Jaime, Luis Fernando; Sanabria, GustavoI think that this task of summarizing a whole project in a page, both in the areas of creation, and in a life project can result in a clumsy effort on my part, many things remain to be said, as well as a lot of unnecessary rhetoric but I will try in these next lines to explain a little bit that I'm looking for with this humble project. To start I am interested in the theme of the grotesque, the comic of the absurd if you want, this theme has been theorized over the centuries, with many results, appreciations and opinions. Some, the most critical ones indicate that the artist who dedicates himself to dealing with these issues loses his time and is destined so that his work is only seen by his family and friends, since he does not comply with certain canons of the so-called "Contemporary Art" I may be wrong or talking about more but it does not matter, let's continue. As I said before, this topic has been theorized to the point of satiety and I do not want to fall into charrarias or common places, or repeat what has already been said, I try with my project to generate a creative experience based on my reflections on the grotesque and the mental condition ( or the classic experience of madness as the good-natured baldness of Foucault tells us). Among all this gleba of authors I chose the group of the chosen ones (like Harry Potter). Among these is the braggart of Mikhail Bakhtin (1875-1975) who tells us that the grotesque or the function of the grotesque is to free man from the forms of inhuman necessity on which conventional ideas are based. The grotesque demolishes this need and discovers its relative and limited character of man "he strives to express in his images evolution, growth, the constant imperfection of existence: his images contain the two poles of evolution, the sense of the oscillation of death and birth. " In other words, the grotesque is from the vision of Wolfgang Káyser (1964), what represents the deformed, the ugly, the ambiguous, the impossible, the absurd. It is above all "the disorderly and disproportionate, which manifests itself through the deformation and mutilation of the human body." Under this frame of reference, my interest is not to develop the aforementioned concepts but, rather, to use them as a starting point to generate an experience of creation in the field of art. Thanks Have a nice day!Ítem Lo poético del graffiti en la construccion del serQuintero Gallego, Juan David; Sanabria, GustavoBy exposing my life and the experiences that led me to understand my close relationship with the graphic, and in turn to inhabit society through color or expression expressed through graffiti; an investigation was made in front of the historical as well as contemporary concepts of urban art practices and their relationship with experience, more precisely from the construction of subjectivity, in contrast to purely urban graffiti with academic knowledge, in this way generate a theoretical document of an urban practice which is born from the most human, empirical and ephemeral experiences to demonstrate, perhaps, an extensive field that is hidden after the execution of a painting in the city. It should be noted, as the concept of experience was gradually forging this thesis, both in the investigative aspect and the pictorial result, since the experiences already granted by graffiti entered into a constant debate with the new ideologies through which they passed these hypothesis and / or thoughts within my academic life. In this way I can relate these fields within a plastic work, which had a background and a broad relationship with the concepts of communication, the exercises of power and change over the territories, the creation of character or artistic personality within the concept of subjectivity, we could say in conclusion, the own interests of expressing images through the aerosol, go beyond this action; they leave traces and witness the body in its expansion, the construction of the concepts of evolution and the new thoughts that are generated from the practice of graffiti itself.Ítem Situaciones emergentes(Universidad Distrital Francisco José de Caldas) Sanabria, GustavoÍtem Los SociófugosMartínez Alba, Lina María; Sanabria, GustavoThe sociofugals reside in a constant movement somewhere, they are desperate because they insure that nobody wants to hear them but when on their own they are not willing to do so either. They have their eyes closed and are not planning on looking around, self-absorbed in their unrest they refuse to amend their pain with someone that could be right next to them. The main is about a mechanism installation that works because of the public, when each other moves the crank, it works to move it in a platform that it’s up, and there’s a whole world of little humans in thereÍtem Los SociofugosMartínez Alba, Lina María; Sanabria, GustavoThe Sociofugals The sociofugals reside in a constant movement somewhere, they are desperate because they insure that nobody wants to hear them but when on their own they are not willing to do so either. They have their eyes closed and are not planning on looking around, self-absorbed in their unrest they refuse to amend their pain with someone that could be right next to them. The main is about a mechanism installation that works because of the public, when each other moves the crank, it works to move it in a platform that it’s up, and there’s a whole world of little humans in there.