Artes Plásticas y Visuales
URI permanente para esta colecciónhttp://hdl.handle.net/11349/100
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Ítem Justicia por Mano PropiaRuiz Chaparro , Danna Solanyi; Wiesner Correa, Laura CarolinaThis project addresses the stories of violence and vigilante justice surrounding the Ricocha River in the San Joaquín inspection, in La Mesa Cundinamarca. It presents sculptures of disembodied hands, which have been the result of dialogues with people who narrate diverse positions and experiences regarding mutilation, in addition to analyzing the way in which others understand reprimanding the behaviors of those who act contrary to social morality, manifesting his idea of justice in actions that fall directly on the body of the other. This panorama is supported by a natural ecosystem that seeks to build loyalty in the environments in which these actions take place, extracting gravel from the area and pigmenting the pieces with the colors of the Colombian flag, showing how a general reading can be developed from a particular problem. in terms of the violence that exists in much of the rural territory of this country.Ítem Método de patronaje: guías para la construcción de un cuerpoCuervo Ruiz , María Fernanda; Casas, Humberto“Pattern making method and guide for the construction of a body” proposes a metaphor between the process of garment making and the impact of media representations of the female body through national television, with an emphasis on the soap opera ‘Sin tetas no hay paraíso’. The project uses the personal experience of growing up surrounded by elements of sewing and television to build reflections on my conceptions of beauty, the feminine and its impact on the formation of an aesthetic and behavioral identity as a woman. Through performative action and photographic record, I seek to create experiences that symbolically address the impacts of representations on a body, specifically on my body.Ítem Nebunexus laniflora: especies para coexistirBautista Piraquive, Catherine Manuela; Sandoval Quimbayo, José Sebastián; Sandoval Quimbayo, José Sebastián [0000-0002-1287-7542]Nebunexus laniflora is a fictional plant species emerging from the Meandro del Say wetland, located next to the El Recodo neighborhood in Fontibón, Bogotá. Known as the "fog flower," this species was proposed as a potential collaboration between the community and the young trees affected by drought. Inspired by partial interactions between the inhabitants and the wetland’s plants, the species captures moisture from fog through its wool structure, providing drip irrigation to the trees it connects with. This project reflects the collaborations that could arise between species and technology, promoting ecological balance. As a resident of the neighborhood, my proposal aims to encourage greater responsibility towards the wetland and foster the creation of technologies that support its preservation. Through speculative fiction and theories of interspecies cooperation, Nebunexus laniflora envisions a future where nature and technology work together to sustain vulnerable ecosystems.Ítem Val(i)dez. La crítica de la crítica de arte en ColombiaGuerrero Morillo, Laura; León, RicardoDoes criticism require critique? Val(i)dez is a monograph that analyzes moments when the very practice of art criticism came under scrutiny, whether to specialize, seek recognition, test its authority, or simply spark debate. This research identifies three periods, classified by the general dynamics of validation in the development of visual arts in Colombia. The first, Pre-criticism, is linked to the judging panels of Colombia’s earliest visual arts exhibitions. The second, Serious Criticism, refers to the figure of the “art critic”, the free market for artworks, and the National Salon. The third, Non-serious Criticism, is set in the context of "the curator" and digital platforms. In non-serious criticism, the "L.O. Case" is presented as the antithesis of Colombian art criticism, analyzing the writings and gestures of artist Lucas Ospina, who, from 1995 with the publication of Revista Valdez, through the second decade of the 2000s, ironically played with critical authority. Finally, Posiciones Incómodas is presented as a space for conversation and assessment of the impact of criticism on current artistic practices and its development in response to the specific needs of Colombia’s visual arts ecosystem.Ítem Casa AdentroBeltrán Beltrán, Deisy Andrea; Wiesner Correa, Laura CarolinaWe inhabit a house-body that reflects on the relationships we weave with our family, the spaces and the environment that surround us. The narratives that revolve around the axis of the home are a memory that expresses the feelings, emotions and perspectives of people who, through their senses, listen, touch, smell and observe their home from the different spaces that make it up. I start from my life story to construct an autoethnography that is transversal to the life trajectories of other communities that sustain their homes from a territory affected by violence, war, displacement and cultural uprooting.Ítem Blanca semillaPalacios López, Olga Liliana; Alfaro Echervarría, Ángel BasilioBlanca Semilla emerges as a creative project deeply rooted in family experiences that go back to peasant roots, where the care and conservation of plants have been transmitted through generations as an invaluable intangible heritage; the importance of preserving this traditional knowledge stands out as a fundamental basis in the creative development of the project. This rich history of knowledge becomes the root behind the conceptualization and creation of the work. The visual narrative captures the essence of this ancestral connection, through the relief engraving technique that seeks not only the visual representation of this knowledge but also to highlight the importance of this technique as a powerful medium that seeks to preserve it for future generations, carefully selected for its ability to capture the essence and depth of the connection between people and nature. In addition, it is recognized that this creative journey is not only about sharing knowledge, but also about embarking on a journey of self-knowledge and self-identity, in an eternal dance between the human being and nature.Ítem INFOFAGIA, El hambre del infofago oportunidad o disponibilidadBenitez Cardona, Mauro Alejandro; Rincón, FavioThe objective of this project is to interpret in a plastic and visual way the consumption of information from a metaphorical and conceptual position of infophagy, conceiving social networks as a “mega restaurant” that feeds digital consumers with news, data and messages that influence the greatest social and cultural aspects. To unravel this position, information is conceived as a nutrient that feeds sociocultural imaginaries and forms militant behaviors in citizens. Infophagy is an adaptation to the immediacy and scope of information that leads to individual and collective indigestion. That fullness usually has visible social patterns such as fear, resilience and metanoia that develop depending on the approach and judgment that is assimilated. As part of this example of infophagy, elements of what happened in Bogotá on the night of November 22, 2019 will be addressed, where the false news spread through social networks: “they are joining the groups” that built a stage unthinkable panic.Ítem Las prácticas culturales de los grupos Sikuris como prácticas estéticas sensibles(Universidad Francisco Jose de Caldas) Carrizosa Pérez, Saida Judith; Valderrama Gil, DilmaMy interest arises from the siku sound object, which, beyond being understood as an instrument, is also a symbol of encounter between people and space, due to its origin, transcendence, and way of interpretation. In my project, I specifically analyze the case of two groups located in Bogotá that conduct their practices in open urban spaces. From a transdisciplinary perspective, and especially within the sound plastic arts, we will understand the role of sound and its symbolic interpretations for a collective that, through the siku, facilitates the dialogic encounter of beings, thereby activating multiple ways of relating from the corporal to the spatial. Thus, this monograph focuses on theoretical and experiential inquiry, addressing topics that relate to and complement the intention of these sikuris groups, allowing us to also consider the interculturality present in the territory from a decolonial perspective.Ítem Tu nombre sobre mi nombre(Universidad Distrital Francisco José de Caldas) Norato Soto, Johann Camilo; Gómez, AdriánThis project is a searching into my own memories, revisiting the events, actions, reflections and experiences lived in 2019, focusing on understanding how love attachments and family relationships influenced my future as a student in a public college, towards the construction of a left-wing political and human position. All previous as resources for the creation of sequential narratives, using autofiction as a main tool and developing a new memory that approaches to a process of healing my personal guilt.Ítem Rastros campesinos, prácticas estéticas campesinas en la vereda los SochesLópez Roa, Laura Camila; Garavito López, ElizabethBased on the concept of peasant aesthetic practices, the artist investigates the sensitive and material relationships that emerge in the peasantry in Colombia and the aesthetic recognition of these subjects as part of society. This work collects the existing relationships in the history and present of the Agroparque los Soches, a natural and peasant reserve that arises after a process of territorial defense carried out by the peasants in 1996 after the urban expansion of Bogotá, in the course of from this investigation a series of aesthetic-plastic artifacts emerge from the grass that reflect peasant feelings and longings, these being traces in the countryside, however, these undergo metamorphosis from generation to generation as well as undergo a spatial transformation since this path currently occupies the which is called the urban-rural border of the fifth town of Usme. Throughout the research-creation, it is taken for granted that this community, apart from resisting in its territory, re-exists from aesthetic, cultural, social, historical and decolonial exercises. Coming across the work entitled "Farm Traces, Peasant Aesthetic Practices of the Soches" it is to find these feelings materialized from a sound, visual, plastic and above all peasant montage with each of the gadgets addressed by the artist.Ítem Estructuras de un tiempo moldeable: El rito contemplativo(Universidad Distrital Francisco José de Caldas) Méndez Morales, Irene Lucía; Arbelaez Grundmann, María JoséTime and space correspond and shape each other. When an accelerated time and performance is experienced, this same crazy condition is projected to the physical world, creating unviable, arrhythmic and blurred realities. To cope with this way of life, I decided to stop, to slow down my transit until I became confused with other temporal rhythms. Contemplation, as a practical exercise, reorganizes the physical image to make it more personal and enjoyable. It leads us to the elasticity of time and image. From the tarantella ritual I make a parallel between this accelerated subject and “the stupefied”, bitten by the spider of capitalism, where his only cure is to dance loudly to the sharp and vibrant music of the tarantella, until the spider explodes. To carry out this healing dance, I propose to build a ritual machine, which brings together, through the sound of the stones, the vibration of the spider web and the video of the hard work of the chircals, the same principle, the same dissolution of the illness. “Until my image breaks and becomes blank for a natural rhythm, for its own time.”Ítem Una línea entre la casa y el hogar. Reflexiones en torno a representaciones y transformaciones del espacio doméstico(Universidad Distrital Francisco José de Caldas) Avila Forero, Daniel; Arbeláez Grundmann, María JoséThis art thesis project investigates the transformation of my relationship with home following a tympanoplasty in 2018, which left me with constant tinnitus. The work is divided into three chapters: the first reflects on the nostalgia for home before the surgery, the second analyzes how art and architecture reinterpret domestic space, highlighting gender inequalities and proposing new visions influenced by feminism, and the third describes the creation of a symbolic linen house, symbolizing connection and transformation. Although personal, the project is contextualized within the pandemic, reflecting how it has influenced our perception and use of domestic spaces.Ítem Lejanía(Universidad Distrital Francisco José de Caldas) Serna Cardona, Laura Alejandra; Gómez, Adrián EdgardoThe "Remoteness" responds to an interest in my corporeality, the existence of my body in space, territory and connection with animality, the in space, territory and the connection with animality, monstrosity and the wild. monstrosity and the wild. The hybrid between the body and the imaginary of what is 'natural' and what is free. Animality as an escape from the social and cultural systems to which I have been inserted since birth. A way out of suffering, the search for meaning. The possibility of creating a new world. How can I find fulfillment in a world that does not stop and that increasingly distances me more and more from it? Gestated from animality and intuition, it came into the world to resignify what I have been taught to be for so long. A bridge between me, the void and the world.Ítem Ventana simultánea Bogotá(Universidad Distrital Francisco José de Caldas) Osorio Torres, Daniel Camilo; Franco Lizarazo, Fernando EnriqueSimultaneous Window is a multimedia art project that seeks to connect the experience of traveling through open space both physically and digitally, through the recording of journeys from the everyday life and subjectivity of DCOT-Daniel Camilo Osorio Torres. I created a WEB platform that contains these random micro-experiences of everyday situations in the city ´´Bogotá´´, forming a cartography experimental plotted on a map, a web hypertext information that can be accessed through a web page. The user will be able to access and explore the physical space through the web, browsing with clicks on the contents that are housed there, providing a interactive geolocation experience that is based on the decentralization and accessibility of public information on the web, storing audio and video files under the Simultaneous Window project in an interactive experience on the web.Ítem Memoria de un museo(Universidad Distrital Francisco José de Caldas) Mayor Amador, Daniela María; León Rodríguez , RicardoEste proyecto parte de la observación en la transformación del terreno comprendido entre la avenida calle 26 y avenida calle 25, frente a mi lugar de residencia, que me permitió analizar el proceso de construcción de una estructura de concreto de gran envergadura, que al momento de rastrear distintas fuentes de información hallé lo que se alojaría allí como el Museo de Memoria de Colombia. La iniciativa de la creación del Museo de la Memoria de Colombia aparece inscrita como medida de reparación simbólica en el texto de la Ley de víctimas y restitución de tierras de 2011.La estructura arquitectónica emplazada en la Carrera 29, entre las Calles 26 y Av. Américas, que ha venido materializándose como la próxima sede física del MMC, hace parte del conjunto monumental del eje de paz y memoria de la avenida Jorge Eliécer Gaitán. Este edificio proyectaba inaugurarse a finales del 2022, sin embargo, su construcción se suspendió desde noviembre del año antepasado. Memoria de un museo se enfoca en la indagación en torno al estancamiento de la obra rastreando los orígenes del proyecto y confrontando fuentes tanto oficiales como no oficiales para poner en evidencia, a través de una puesta en escena expográfica, una serie de indicios que rodean la difusa y confusa situación actual del Museo como “elefante blanco” en medio del paisaje urbano en pleno corazón de la ciudad. Este proyecto de investigación-creación se sostiene en lo que se dice, lo que circula y se ha ventilado públicamente y lo que se afirma institucionalmente como el Museo de Memoria de Colombia.Ítem Extimidad: tácticas y estrategias para gobernar a mi mismoPeña Rodríguez, Cristian Samuel; Torres, Miguel; Ordoñez, CamiloArtistic tactics and strategies to govern myself. How is it from creativity, from the artist who lives here within this vehicle, can I develop a strategy to govern myself? I understood that the rival to defeat is not my anger, nor fear, nor the other emotions. You can no longer destroy something as necessary as anger and neither can you defeat or separate yourself from fear, that would be self-destruction. Mike Tyson says: "Fear is my best friend, he helps me reach my full potential." The rival to beat was the man I had built, by allowing myself things like not having a routine, not having a schedule to sleep, eat or work, that made me lose some humanity and live by instinct giving my body what it needed. He asked me for liquor, women, gambling. I consumed all of this in excess and I slept when I could no longer stay awake, I ate when my hunger was unbearable, I worked so obsessed with these behaviors that I even forgot to go to the bathroom, I lived without government, giving the reins of my life to my instincts. . and not to the heart or reason. I have to make a combat plan; I know my rival, now I know what his weaknesses are and that is that he does not have a healthy routine, in fact he lacks healthy work and life habits. Now, my plan is to draw up a strategy or a combat plan, like when I was fourteen years old and they taught me to box, the first thing is to study the opponent and choose the correct strategy, in fact a good fight plan is better to have several strategies in case one does not work and it is necessary to implement another, which is calculated to be more effective and adapt the tactics to the new strategy until the objective is achieved: knock out without doing too much damage. I am an artist not a boxer and I speak metaphorically, the goal itself is to sublimate those negative habits and manage to govern myself in a healthy way. To do this, I believe that an artist is capable of using his creativity and ingenuity to create these tactics, strategies and even make plastic proposals in this regard. Imagination can be a more effective weapon than fists.Ítem Lo consecuente y la consecuencia del tiempo y el oficioRodríguez Pérez, María Daniela; Valderrama Gil, Dilma Julia; Valderrama Gil, Dilma Julia [0009-0003-2292-4810]The origin of this research arises from my personal curiosity about the consequences left by the passage of time and daily tasks. Consequently, I observe my mother day by day and I notice the fatigue and some morphological modifications in her hands. Undoubtedly, the need to focus on both the physical and emotional feeling arises, this leads me to start the inquiry about the diseases that keep this feature and I find the variety of arthritis or osteoarthritis, in turn, extensions as a complement or corrective treatment for such deformities. From there, I start looking for a way to show this situation from the plastic arts, and I find a correlation between ceramics and the body; materials that have common characteristics, such as their wide malleability, their strength and even their fragility. My primary interest is to represent the deterioration of the body, in this case the hands, so that I can formally interpret in a heartfelt, free and expressive way the modeling of these with clay; thus continuing to investigate and understand how pre-Columbian cultures such as the Tumaco assumed old age and represented it through ceramics. Important reference that allows me to understand the meaning given to this pre-Columbian artistic creation at the time and how nowadays the motivations, representations and interpretations are also lived. Thus understanding that the craft of ceramics is part of the daily life of my mother and me, which allows us to see in this repetitive task that exalts the spirit, greatly pleases creativity, but that, perhaps, is part of the decline that leads to bodily deterioration.Ítem Aproximación al hueco grabado desde la reutilización de elementos domésticosFigueroa Vargas, John Mauri; Rincón Pachón, Favio HumbertoIn this work, material alternatives are sought for the development of intaglio engraving techniques such as drypoint and etching, starting from common elements and domestic supplies that allow their use in spaces that have not been designed as engraving workshops, therefore which, even a common room can allow the practice of these techniques. It is known that the traditional processes of these techniques demand the use of difficult-to-access tools such as torculums, or in other cases, materials that, for artistic practice understood as a clear exploration, can have a high cost in addition to their toxic particularity. in some cases. However, society discards an endless number of materials every day that can be useful for experimentation in engraving without affecting its essence, on the contrary nourishing it with the particular characteristics of each element. Thus, the reuse of bottles, cans, boxes, compact discs, among others, are the basis of the research that is carried out. As an experimental process, endless possibilities arise when doing, however, there are also many failed tests, which are understood as part of the process, errors that allow us to better understand how the different materials and elements behave as they are intervened, for example. what accepting chance and coincidence as part of creation turns out to be an alternative in the investigative process. In the same way, community spaces for the exchange of knowledge are important for the development of this project. It is there where the interest in developing this type of techniques is born, with the economic complication that they demand, but where at the same time they are nourished by the amount of individual experiences that they constantly generate.Ítem The last lollipop, recuerdos de infancia.Prieto Ñañez, Daniela; Garavito, ElizabethThe last lollipop is the name given to the result of my degree project at the entrepreneurship modality. It is a brand proposal for adults/youth inspired by memories from different childhoods and the visual aesthetics of the 2000s. To do this, it is inspired by the cartoons of this decade, the color palettes and clothing silhouettes.Ítem Una casa en movimientoRojas Moreno, Sebastian Felipe; Rivas Medina, JoyceThe pandemic that took place in history since 2020, for almost three years, was the stage where the concerns to develop this project arose. The quarantine that made it impossible for us, as a society, to leave our homes, was the starting point to generate a dialogue with the space of my home - particularly with the shack room-, the way in which as a family we live it, and how I, as an individual and artist, relate to it, with the aim of reinterpreting it through artistic creation. To develop this project, a qualitative methodology with interpretative scope was proposed, based on the collection of stories and visual archives that narrate the history of the house I have lived in since I was two years old, to then focus my attention on the way in which intuitively has been distributed throughout the house, ornamental and functional objects that over the years lose their value to end up in the shack room. It was decided to materialize this process in a visual way through the realization of an installation that simulates the space of a living room, composed of different pieces of furniture such as chairs, shelves, tables, clock, etc. The choice of the medium also led to the intervention and resignification of different objects that had been in complete disuse for an unknown amount of time as part of the furniture of the shack room, which allowed me to configure not only the space that I create, but also the space that I have always lived.