Artes Plásticas y Visuales
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Ítem 1948: del big bang a la música callejeraMontt Lozano, Fabio Andrés Sebastián; Pinilla Zuleta, Sara GabrielaThis project was born in the second half of 2013 and had two circumstances that motivated his existence. The first was to have met Edgar Espinoza who generated me a Important question How much academia "institutionalizes" artist? The second question You have to do with the way you build identity in public spaces: To what extent do the cultural manifestations on the streets reflect beyond the use of Space a tradition? Bearing in mind that this historic moment the streets and public transport have been Become musical scenarios, this is why the research process went through two Stages: the first was based on the historical context in order to understand where This tendency in the city, and the second stage consisted in carrying out a work of Field, which was based on sound records, photographic material and interaction With the musicians. The project has three plastic components: paint, sound in the Space and a digital memory with the most relevant aspects of the project, such as Photographs, recordings taken of the musicians, the transcription of them and a map Showing where the city was taken, the viewer will be able to access this Information through a QR code that will send you to the project link.Ítem 23 ritmos y una esperaCamelo Jiménez, Angie Carolina; Foglia Ortegate, AndrésHow long can waiting for? How much waiting has made him lose time? How many things exist in a space? Why the time has eroded? What if things speak? How many experiences exist in everything? Where are they? They are some of the many doubts that have made my space is valued by the peculiarities that have objects; awakening in me an indecipherable waiting for a do not know what and why in different periods of time. This is how you make the decision to use the time as a single process and equipment to reach 23 << >> rhythms and a wait, a place where the wait is interminable and oblivion exaggerates the role of the elements, where the game seeks to win the conventional while constantly lives in everyday life, leaving behind indifference to highlight every detail. A full of metaphoric connotations that reflects that time that does not allow installation perceive beyond; revealing a wait, which recognized the banality to complement an experience that is continually losing or killing time.Ítem À la nappeOrjuela Arjona, Dayana Del Pilar; Alfaro Echavarría, Ángel Basilio; Shambo Gonzáles, FerneyThis text seeks to compare some of the aspects that shape the fantasies or expectations prior to the first sexual relationship of a group of young people, with the reality of the events that occurred. The interview. It serves us as a qualitative measurement instrument, allowing a particular follow-up of each individual regarding their experiences. This leads to a relational and graphic plastic result: An installation that revolves around some zines that contain cake recipes as a metaphor for the stories told.Ítem ¿A ver que me encuentro hoy?Rojas Guarín, James Andrés; Rojas Casas, UmbertoTo see that I am today? A question that is solved and is still solved in the encounter with forgotten objects perhaps destined to be part of a work or inevitably to the trash can, the question is an ensemble of particular interests that develop subjectively in my mind, perhaps the only The way to answer this question is to walk, but the inevitable and the latent chance continue at each step, so it is a question that is answered over time.Ítem A.R.T. (Artificial Reproductive Technology)Lozano Hurtado, Felipe Alejandro; Cáceres Jaramillo, Juan FernandoBeing part of a group of people whose existence depended on the advances of technology, experimentation, commercial dealings and a series of unnecessary processes in the natural act, has made me recognize my conception, after 21 attempts of in vitro fertilization, as an event Which does not fit into the typical life-cycle model. I have understood that although my origin does not influence my bodily or mental configuration, the way I was created or engendered constitutes an important part of my identity. The sense of otherness attached to the labels of "test child", "special child", "successful attempt" and "expensive product", made me wonder What makes us humans? Does it have to do with the way we come into the world? For me, what is implicit in everything that makes us human is the capacity to desire. If something exists it is because someone felt the desire to have it. I am a result of the desire of my parents and the human desire to transcend, to create new technologies to satisfy our own needs. A.R.T (Artificial Reproductive Technology) questions human nature, staging three conditions inherent to our existence: birth, desire and death. A paradox in which our beginning and end no longer depend on natural causes, in which the repetition of actions day after day, throughout life, leads us to naturalize artificial behaviors crossed by the desire to be more than human.Ítem El acto de dar las gracias: la reciprocidad vista desde mi ámbito familiarCuellar Muñoz, Diego Fernando; Garavito López, ElizabethIn this work you will find that after the simple "act of thanking" complicated relationships are woven both in the political, economic, ethical and aesthetic, exemplified through my situation as a privileged student by admission to a public university , and for the emotional and economic support that my family has given me to study the career I always wanted. I asked some questions about what worries me about reciprocity, I explained the reason why studying at the public university is a privilege, and I did a research on authors from anthropology, sociology, western philosophy and theology of liberation, to give some light of what reciprocity in interpersonal development represents in different contexts. Based on this, I expressed my political position regarding gratitude. Subsequently, I attached in photographic records and anecdotes my aesthetic proposal related to the creative work of contextual artists, to leave at the end what this work has meant as an important value in learning my continuous personal development.Ítem El acto de dar las gracias: La reciprocidad vista desde mi ámbito familiarCuellar Muñoz, Diego Fernando; Garavito Lopez, ElizabethIn this work you will find that after the simple "act of thanking" complicated relationships are woven both in the political, economic, ethical and aesthetic, exemplified through my situation as a privileged student by admission to a public university , and for the emotional and economic support that my family has given me to study the career I always wanted. I asked some questions about what worries me about reciprocity, I explained the reason why studying at the public university is a privilege, and I did a research on authors from anthropology, sociology, western philosophy and theology of liberation, to give some light of what reciprocity in interpersonal development represents in different contexts. Based on this, I expressed my political position regarding gratitude. Subsequently, I attached in photographic records and anecdotes my aesthetic proposal related to the creative work of contextual artists, to leave at the end what this work has meant as an important value in learning my continuous personal development.Ítem Agua que ya corrióBedoya, Didier; FrancoThis text explores the natural, social, and political characteristics of the Colombia-Venezuela border, aiming to understand, from an artistic perspective, the significance of the Orinoco River as it traverses Colombian and Venezuelan territories. It examines how the river serves as both a record and a central figure in the ancient and recent history of navigation in the region it flows through. Additionally, the text includes the author's personal experiences in the area, recounting how he crossed the river daily as a child and was involved in local smuggling and illegal trade. These experiences spark an interest in investigating the sociopolitical context of the border region, specifically in the Vichada (Colombia) and Amazonas (Venezuela) territories. The project also aims to interpret border commercial activities from an artistic perspective, highlighting the lines or traces left by varying river levels on the rocks of the Guiana Shield as markers of recent civilizations in the area. These records capture information about recent commercial and navigational events, observable in the marks left by different river levels on the igneous rocks, which contribute to the surreal beauty of the mentioned locations.Ítem Aislamiento en TibanícaIregui Cardona, Roger; Alfaro Echevarría, Ángel BasilioThis project seeks an approach to the “Tibanica” wetland, starting from memories, the existing documentation and guided tours inside the wetland that generated a series of concerns related to the way, the surrounding neighborhoods were created and the way we relate as a species with water, waste, and animals; also how this relationship implies the fragmentation and isolation of spaces natural to the point of making them disappear. However, the implementation of projects for its restoration and maintenance have been delaying its evaporation and is for now, the home of an endemic species of frog; which is trapped in the wetland not being able to use the ravine or any forest to migrate. The installation consists of two pieces that have a dialogue, on one hand, there is a drawing, two-dimensional carbon, fixed with alcohol and shellac, a product used to seal wood and that are of natural origin, and that has a yellowish color; as opposed to drawing a piece is a hollow cement wall, 1.20 meters by 1 meter, this the element drags me to the idea of progress, understood as the expansion of the city by the middle of urbanization measured in paved meters and built works, such as bridges and roads that cross wetlands and severely affect them, is located near the drawing and prevents its visualization from afar, just as the human constructions, from the jarillons to the houses, with the wetland.Ítem Al otro ladoPachón Matute, Jairo David; Grundmann Arbeláez, María JoséIt is night, it is raining outside and, through the window, you can see the appearance of a couple; she arrives and surprises him, they caress each other and slowly they get closer. Now, are these actions the preamble to what could be a kiss in the rain? Is this cinematic cliché a common ideal to be realized? Or can you simply refer us to some special memory of our life, like the first love, or some special date? These are questions that I ask myself when seeing my grandmother have a good time looking at the street, I imagine her contemplating her dreams, wishes and better memories that made her happy. Thus, "On the other side", is an invitation to place ourselves in a state of contemplation, from an interior place, in order to revive common or close feelings, as spectators-voyeur, being these the main actors so that the kiss can be made.Ítem El álbum familiar: Fotos de familia en la configuración de subjetividadesGuzmán Hernández, Angel Yojana; Vanegas Flórez, Guillermo AlexanderThe family album is a photographic practice linked to analog technology, from which families formed social and cultural representations of themselves. The main object of analysis is the process in which, from the practices, relationships are developed between the subjects that carry them out and these same ones, forming a production of intersubjective relationships from photography. In the family the visual practice acts, which is composed of: capturing photographs, material and symbolic construction, treasuring and narrating photographs; these are four moments in which the family constructs what is important to it, how it symbolizes, materializes and imagines its own family reality, expressing a way of seeing themselves and a way of seeing others, as a system of representation. Through a series of experiences in the research with different families with their family albums, we arrive at the visual analysis of the practice of the that’s, in which a series of knowledge about family ideas converge, these knowledges are the result of a practice that composes a series of relationships between family imaginaries and the uses of images.Ítem Aleación congénitaMejía Torres, Jerónimo; Córdoba García, Ana MarcelaIt is a laboratory for experimentation with materials of different nature with which we worked intuitively and practice around concepts such as degradation, deconstruction, assembly, recycling and hybridization; to take advantage of the expressive qualities of everyday materials such as glass, cement, wood, sand and also seeking new pictorial possibilities through alternative immersion of objects in solvent paint techniques, this is arranged with the need to create images, compositions, photomontages and illustrations that enrich the perception of corollary, the manipulation of these materials development and debugging artifacts relevant technical processes made it necessary for each of the materialsÍtem Alivio del sentir interiorVásquez García, Yessica Lorena; Peñuela, JorgeMourning is an event that occurs in different situations facing material and immaterial death, coexists with human need to transit and heal, so it arises "Relief of the inner feeling", collection of anecdotes, reflections, metaphors and images in front of this feeling. The narrations give account of a catharsis in which the different states of the duel are crossed, such as shock, guilt, grief, resignation, acceptance and reconstruction. Understanding that death is a reminder of life, the altar arises in memory and gratitude to a being that resists.Ítem Almidonar, planchar, doblarRodriguez Castañeda, Marcela Carolina; Alfaro Echevarría, Ángel BasilioAlthough I constantly directed my attention to the woman, to the feminine, it took me a while to realize that what interested me was the everyday and family space surrounded mostly by women. A space that becomes here autobiographical and personal, that originates, from a daily custom known as starch, which consists of applying a substance called starch to the shirts, then ironing the necks and cuffs in order to keep them stoned. Although, the subject, based on my particular experience, a series of questions arise that make me rethink the meaning of home; of the family; of the everyday. What does a repetitive and daily action tell us? How to account for it, if part of a personal experience? How can a routine element be a container of meanings and allow us to recognize part of our history in it? Thus, as my proposal acquires an emotional sense, an affective element that tries to represent a domestic action that, more than a habitual action, has become, for me, an element of communication, of bond. It is possible that this practice is not present today, in addition, it is no longer functional, it is not necessary. Why starch? Why iron? However, I believe that my intention is to show a domestic work that many people do not even know existed and, perhaps, still exists; and that far from being a practice carried out many years ago and remembered only by grandmothers or by some of our mothers, it revealed, more than a domestic action, an inherited knowledge, hiding behind the repetition and dedication, a sense of closeness, of patience ; an emotional connection between the daily work of a housewife and her family. Why does our attention turn to these things? Possibly, in principle, for an exclusively aesthetic taste. However, I wonder: why in these things and not in others? Probably because they have become part of our environment, and being repetitive, they do not come to us by chance because we grew up and lived with them and in them. They then become links and vehicles that build our universes and, that over time, although unconsciously, have built a part of who we are. This work is therefore intended to show how a domestic action tells us about behaviors; of ways of thinking; of spaces and elements that adapt and that at the same time are holders of meanings, and in my view, they become, in time, places of refuge, in private, intimate, almost introspective territories that end up as the only resource of communication present in a daily action, such as cooking or ironing.Ítem Aluvión: El perdón como acto revolucionarioCaro González, Carmen María; Gómez, Adrián EdgardoIs forgiveness a revolutionary act? This project started in March 2018 and it was written during the travels I have made throughout the country, with ideas and experiences fresh. The project intends to investigate several actions, exchanges, and experiences that, from a personal perspective, extend towards collective learning dynamics trough artistic sensitization. My hypothesis state that forgiveness is constituted as a reborn act from traces, cracks, ruins, and pain, which is an autonomous rebuilding of one’s own identity through catharsis, from chaos. Then, Can forgiveness be a revolutionary act due to its liberating, transforming and restructuring features? The installation is made of 62 soil tiles like the soil I brought from the serranía after every trip. Every tile has an I am statement from every participant that reveals only with rainwater or with the participation of the public, these tiles are accompanied by testimonies gathered in this 2 years of research, engraved by hand in the soil. is an interactive, autonomous revelation like the act of forgiving. This research was executed thanks to and with the inhabitants and ex-soldiers of FARC in the SER Space for education and reintegration Urías Rondón in La Macarena, Meta, together with indigenous from the Embera Chamí town hall and with the colleagues with whom I have worked in the field.Ítem Amenaza de ruina Vestigios de memoria de la ruina en los lugares abandonados CED Centenario y Hospital San Juan de DiosVeloza Diaz, Brayan German; Gomez, Pedro PabloThis Project addresses the notion of a place in ruins as an allegory of the ephemeral and the decadence in the aesthetics of the urban landscape, from a visual and plastic approach. Here the urban space is located not only from its social and historical dimensions, but also from its atmospheric or architectural features of two places in ruins of Bogotá: the CED Centenario school and the San Juan de Dios Hospital. One of the centers of work revolves around the image of the city as a lugubrious, existentialist space, a scene of desolation and anguish that allows us, from a personal experience, to rethink the landscape from an allegory of the ruins as something metaphorical, symbolic and historical memory.Ítem Amor y controlPulido Gil, Juan Camilo; Méndez Bernal, Rafael MauricioLove is the feeling that moves humanity forward, but how we define it must be reviewed. In this text I confront many of the ways of loving I have experienced, witnessed and known as a son and individual, as someone in a love relationship and as a family member, paying special attention to my relationship with my mother. I question authority and propose relationships based in mutual respect, criticizing authoritarian hierarchies that are regularly seen as benign in the name of what title defines a given relationship, by means of using the song Amor y Control by Rubén Blades as the backbone of the text.Ítem Análisis de la importancia del premio Luis Caballero, en publicaciones de medios de comunicación colombianos a partir de 1996 al 2020.Parra Enciso, Laura Carolina; Peñuela, Jorge EdilbertoThe Luis Caballero Award is an event of the plastic and visual arts that has been held in Colombia since 1997 and, is part of the district program of stimuli for culture of the District Institute of the Arts, IDARTES. Since its creation, the award is listed as the most important recognition given to artists in the country. Nevertheless, the arguments thatsupport its current prestige are not entirely clear. Hence, this monograph addressed the question about the importance of the Luis Caballero Award, with the main objective of establishing the reasons why this stimulus has obtained such recognition in the Colombian artistic circuit. For this, a qualitative methodology of explanatory and descriptive scope was proposed, based on the information collected about the origin and importance of the award, in Colombian media, through the Google and Google Scholar databases. This research was carried out according to a historiological design and, of tabulation and interpretation of the studied documentation. According to the analysis carried out, it is concluded that the reasons that justify the importance of the award respond to the characteristics of the structure it exhibits, the influence it has on national art, its status, its unique character within arts events. plastic arts of the country and its twenty-five-year trajectory. Finally, the importance of the Luis Caballero Award can be evaluated by analyzing the contribution of the aforementioned categories to the field of national art.Ítem ÁnimaBermeo Bahamón, Said Alfonso; Arbeláez Grunndman, María JoséIt proposes a reflection on the perception of objects and their effect on the individual, based on the philosopher Henri Bergson's idea and his approach to pure perception. The project addresses the concepts of perceived object and motor prolongation. That is to say, the objects that occupy a space are susceptible to the perception of the individuals and likewise, the object is able to act reciprocally Animation is an exercise that contains the aforementioned principles. In this way, animation allows us to develop new spaces where the objects of the environment show us their motor prolongation, this technique allows us to develop an action with an object perceived in the frame. chosen, creating moving images. My project is the way to group works or processes that I have done during my search of the image. The animation allows me to appropriate all the elements that I have been accumulating and developing throughout my personal research. Seeks to recognize a creative system or creative process, a way to understand the creative act and evidence a system of own perception.Ítem AnnabellLayton Cuervo, Stefany; Foglia, AndrésThis work consists in the elaboration of a series of images that give account of some moments lived in the stage of the childhood, from a series of methodological strategies that investigate by common spaces of a generation. The need to address these images arises from thinking of those spaces of memory that weaken in front of the passing of days, spaces that are not present but only in memories, and that through various vestiges form a narrative of the past Which is renewed in the present.