Artes Plásticas y Visuales
URI permanente para esta colecciónhttp://hdl.handle.net/11349/100
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Ítem 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 Conversaciones entre camasSanchez Muñoz, Doris Adriana; Rivas Medina, Joyce""Conversations Between Beds" is a project located in the municipality of Suesca, Cundinamarca. Through the development of "Ceramics Workshops for Public Women," it reflects on the impact that flower monocultures for export, situated in the Bogotá savanna, have on the bodies of the women working there and the land on which these plantations are established. This project serves as a platform for women to assert their claims regarding their bodies and their autonomy in their societal roles, within their families, and as Public Women.Ítem Guanumen Tapias: Sanación del árbol genealógicoTapias Ayala, Tania Sofía; Arbeláez Grundmann, María José"Guanumen Tapias: Healing of the family tree" proposes a healing method based on artistic and sensitive practices in the introspective search for family history and the construction of funerary urns for "Burying bad memories", based on the concept of the "Epigenetics", which studies the possibility of inheriting knowledge and traumas from our ancestors through the genetic code. This project analyzes the process of creation as a trigger and cure for these past lives of my relatives within my body.Ítem Buen AmorRomero Meza, Paula Andrea; Vanegas Flóres, GuillermoGood Love starts from the question What is love?, the analysis of feelings, intimate reflections and a simple curiosity to answer the question. It is an investigation that addresses the meaning of love. It invites self-reflection of experiences through a process of healing from “Bad Love” and is established in a sharing of experiences that seek to highlight self-esteem.Ítem Mi mamá me amaHolguín Barreto, Laura Alejandra; Peñuela, JorgeThrough narrative and ceramics, the author seeks to tell stories based on upbringing situated in a violent environment, where the family often serves as the epicenter of voluntary or involuntary abuse inflicted upon children. The aim is to recognize these narratives as archetypes that repeat across different generations and individuals. They propose fictional characters and events based on real stories to expose violent acts that are normalized and repetitive in Colombian society, where the fragility of childhood and the repercussions of unstable upbringing are not taken into account. Additionally, they highlight play as a tool used by children to narrate their stories and experiences non-verbally, but also as a tool often used to coerce or normalize violent acts inflicted upon them.Ítem Reminiscencias del Sumapaz. Imágenes de vida, lucha y resistencia campesinaAvella Romero, Camila Valentina; Ordoñez Robayo, CamiloThis project has as purpose reconstruct and make visible the memories of my maternal family, rooted in the political and social context of the 1950s in Sumapaz, a region marked by violence and peasant struggle. My maternal grandparents were witnesses and participants in the revolutionary organization led by Juan de la Cruz Varela, which led them to face political persecution and keep their experiences and memories in family privacy. The reconstruction of these experiences will be carried out through the act of reminiscence, an introspective process that connects the past with the present and provides a new perspective on events. Additionally, it will focus on collecting testimonies through oral history, which will take into account the stories passed down by my grandparents and some other relatives. These personal narratives will be put into dialogue with public and private archives to build a comprehensive vision of historical events. Using artistic languages, spaces will be conceived where memory reappears with a deep symbolic value, materializing narratives that allow me to recognize my identity and that of my family. In this way, the construction of memory through images becomes an act of resistance against oblivion.Ítem Modelos de mujer que soy, un accionar continuo.Chacón Rodríguez, Erika Alejandra; Ordoñez Robayo, Camilo AndrésThis investigation – creation begins with a question, how did I built myself and how did I imagine that I was going to be as a woman1, based on the relationship, analysis and experience form the two women that raised me? Thanks to this question I started having different private conversations with my mother and my “nana”. Through these conversations, I started building mental images, that became the categories in the project: work, education, sexuality and violence, also becoming the photographs that go along with the essay. This is important to recognize, due to the fact that some of the photographs from the family album and their conception, were key to develop the investigation – creation, this way the photographs build a path between the past and present, and also they allowed me to create images according to myself, stating a way of self-representation utilizing the photographic image. This final undergraduate essay contains two major parts, the first “the family past” that encompasses that first investigation-creation, that details the biographies of mi mother, my “nana” and mine, from each one there are presented the categories previously stated, that evidence the social context in our country, by the end of the 19th century and the 20th century and a part of the current movement, this compliments and constructs through the support of diverse collectives of arts like Las Zungas, Mujeres Creando, Las Tejedoras de Mampuján and Surcos en la Piel. Later and because of the current situation with Covid-19, the result of the creation presented at the end of the first section where the product was a installation- audiovisual, in which through a short film a story was told about sexual violence, that is one of the focal points of the projects and gave a turn that then became “have you ever been upset?, me too”, that gives way to the next part of the undergraduate essay, the “generational-present”, in this chapter there are sixteen conversations made with women coming from art backgrounds and other disciplines, where they introduced themselves, had a dialogue and reflect with the project categories, articulated to their life stories and work experiences, in conjunction there are three laboratories of creation. That granted the relation between adult and young women, through materials (wool, mud and soil) these materials made us able to talk about cultural trades and practices, that intertwine the life of these women, from generation to generation; to finish the creation results, an audiovisual was developed that through dancing, music and plastic arts, a visualization of the voices from the adult and young women are created, that tell and debated about the figure of the women today, and during the pandemic. To close the second chapter and the undergraduate essay, the “Mujeres artistas. Del inconsciente al consciente” is presented, a chapter that evidences the analysis of some of the photographs in the project, joint with the work of diverse artists, that went along with me in my college career, and that their work exposes a woman as a subject with rights. Finally, this undergraduate essay made me able to build dialogue with women in my family, and women that I never thought I was going to meet. The orality that goes through the project, being the first tool of creation, and the perfect instrument to rebuild myself as a woman, also was the connective string that made possible the artistic practices, the women of different disciplines and the materials, that constructed this investigation-creation that closes my college career, and also gives me a first step in my new educational process.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 Maneras de des-figurar el hogarHortua Franco, Nicole Daniela; Sandoval Quimbayo, José SebastiánIn "Ways to Disfigure the Home," after examining the links between nostalgia, home, and artistic practices, I propose a reflection on the concept of home that goes beyond the traditional model of house + family + relational dynamics. Instead of adhering to this conventional view, the reflection explores factors such as solitude, fragmentation, and displacement, which distort and expand the contemporary understanding of home. This approach aims to reconfigure and enrich our conception of home in the current context.Ítem Recintos atmosféricos: un viaje a través de los recuerdos.Triana Stiebler, Maria Paula; Franco Lizarazo, Fernando EnriqueIn the exploration of the intangible, transience is embraced, and it is recognized that memories are not mere static fragments but ethereal entities shaped by our perception. By reconstructing spaces where light and shadow reveal the arrangement of objects present, and through atmospheric devices that channel the nostalgia of returning to one's childhood home, the project represents the dichotomy between presence and absence in which memory resides. In this context, the research-creation begins with the approaches that have evolved in my artistic practice of photography and printmaking, integrating the concepts of threshold and ghost image. This evolution culminates in an immersion into a contemplative journey towards a reality shaped by imagination and emotional perception.Ítem Multitudes en TránsitoGómez Coronel, Daniel Esteban; Rivas, Carlos FernandoIt's very interesting how the emotional aspect of an individual is affected when forced by the public transportation system to be part of a crowd. One recognizes a massifying intention in social spaces that compels us to become just another member in different groups of strangers, formations that occur within an imperfect urban daily life, especially on the journey from Soacha to Bogotá, as it happens in Transmilenio. The physical conditions, design, and inadequate management of this system crowd us, forcing us into contact and proximity in a systematically invasive manner that seemingly disregards our right to individuality and our value as human beings. An origin to the problem is suggested in the way policies inherent to capitalism, which define the social and economic dynamics of our contemporary societies, manifest themselves inside a Transmilenio car, primarily through the user's visual and auditory experience. Therefore, the text is primarily constructed from personal experiences and encounters. These are presented to the reader through the formulation of questions, seeking to validate and contrast them regarding Transmilenio user rights, as well as exploring insights from other authors and artists.Ítem Memorias de una ausenciaCaiza Erazo, Tatiana Carolina; Valbuena Riveros, José OmarThis project revolves around a series of concerns that arise from the need to find answers to the way in which the experiences I lived in childhood left an indelible mark on my construction as a person. Therefore, there has been a constant interest in preserving a link with objects that have an affective charge, which have enabled me to locate the memories of my memory and thus reconstruct what I lived. These objects function as a transporter portal in time, allowing me to lead to different places in the past where events took place, to understand what happened and thus to immortalize what I do not want to forget. In this way, my need is sustained in that search to honor the fragile and ephemeral that comes from the anguish and perplexity that unleashes the absence, which in this case, is related to the abandonment by the father figure; consequently, it had a significant impact on my emotional and relational behavior. In the course of this search I have been able to understand the construction of memory as a present reality; that is to say, not only as a reference to what has already happened, but also as a reference to the meaning it acquires through artistic practice.Ítem Prácticas para no olvidar - El dibujo como estructura de pensamientoCéspedes Ruiz, Natalia; Rincón Pachón, Favio HumbertoThis project arises from the need to remember through drawing, due to partial memory loss. Within my own quest, these drawings became integrated into my artistic practices. As a result, new practices were born to not forget a journey through my drawn memories and their cognitive process. With this project, I aim to provoke reflection in anyone who finds themselves in the act of drawing, encouraging them to contemplate with each stroke and henceforth exercise their own way of thinking about drawing consciously.Ítem Prácticas metodológicas para incentivar la creatividad, el pensamiento complejo y el conocimiento transdisciplinario: En los estudiantes del colegio “Agustín Nieto Caballero de Chía Cundinamarca, Colombia”Maldonado Ramírez, Paula Andrea; Garavito López, ElizabethThis report talks about the pedagogical proposals that within the framework of my academic internship I developed from January 23 to April 28, 2023 at the Agustín Nieto Caballero School, located in Chía, Cundinamarca, Colombia. This document also contains a series of reflections on notions such as the community, the transdisciplinary and art as knowledge. These conceptualizations are the substrate from which I developed the pedagogical proposal for support and accompaniment at school, articulated through the ideas put forward by various authors and based on a number of problematic topics where doubt, uncertainty and creativity misalign the floor of pedagogical conventions. For the aforementioned institution I designed, programmed and taught a series of drawing, painting and engraving workshops with the purpose of allowing the participants to develop a visual proposal that projected their interests, visions and aspirations in a creative way.Ítem El papel del artista como mediador: “Reflexiones sobre el oficio de la mediación”Porras López, Norma Vanessa; Gómez González, Adrián EdgardoThe Role of the Artist as Mediator, is a degree project in the Internship modality, a modality chosen from a need to be part of the places where art happens in my city and the opportunity to carry it out in the Santa Fe Gallery. the experiences throughout the internship that contributed to my training as a student and soon, as a professional. I consider this document a guiding tool for future interns. Understanding Mediation as an exercise of approach to the Plastic Arts through languages relevant to the public and pedagogical experiments that allow establishing a conversation with the other, to reconstruct meanings and thus generate closer links between the proposals on display and the viewer. . This exercise gave rise to learning of pedagogical tools for mediation, the study of differential populations and also questions about the "de-academization" of the languages of the proposals, for likewise, the teaching of new concepts, the profession of Mediation as bridge of communication between artists and the various audiences.Ítem El arte de las prácticas cotidianas en mi hogarGil Varela, Laura Milena; Arbeláez Grunndman, María JoséThis creative research project aims to explore the possibilities of artistic drawing in terms of its capacities for representation, illustration, imagination, and recording of human activities, in this case, those taking place within the home of the artist/researcher. Drawing serves as the research vehicle through which observation (and attention to the details that define each person and object in particular) allowed for a journey through, review, retouching, and redrawing of the family history, a community that - in this particular case - is made up of women (grandmother, daughters, mothers, granddaughters). Likewise, as a meeting place for drawing, the artist and her family chose the heart of the large maternal house: the kitchen. This place was identified as the domestic space in which, in addition to spending most of their time, practices, conversations, dilemmas, and debates about the role of women inside and outside the home arise through generational changes and in the midst of the different professional and human exercises that the women of this home develop. In turn, drawing is the endpoint, as the understanding of this language in its multiple expressive and representative possibilities, as well as the reflections recorded here and the resulting artwork, account for the explorations and provocations of drawing to continue a path that extends infinitely into its own possibilities.Ítem Diálogos estuariosAmézquita Gómez, Sofia Valentina; Franco, Fernando EnriqueThis project is a journey of singular experiences and personal learning, gathered from the water own sonority and how it has instaled, changed and molded itself until it converges in the construction of my own memory and inevitably in my perception of life. I analise my reflections and research hand in hand with various authors and artists that has been influenced or captivated by water and its sound. The result is an audiovisual installation that reconcilies in one single space these dialogues through three diferent sound moments, each from different sounds of specific types of water, projecting the most croncrete and confluent states of these experiences with water.Ítem La formación como base de la creación e interpretación del lenguaje gráfico ancestral presente en ZipaquiráVelandia Poveda, Mónica Andrea; Ordoñez Robayo, Camilo AndrésThis internship project will be carried out based on my own interest in reconstructing part of the historical memory in Zipaquirá. As an artist from Zipaquira I have been able to observe that the community does not know the pictograms and petroglyphs present in the so-called Rocas del Abra, for this reason I decided to carry out a formative process trying to include the greatest amount of population and thus to be able to sow in each one a small seed of knowledge regarding our history.Ítem MementoGómez Rodríguez, Pablo Andrés; Ordoñez, CamiloThis process seeks to immerse oneself in the memories, in the stories, in the doors, in the walls, in the furniture and in the chairs through the instant. The instant in which absence and presence meet during a specific moment in my life, thus proposing an understanding, reflection or way of conceiving time.