Interpretar, escribir y pensar las imágenes de nuestra cultura visual contemporánea
In the paradigm / poetics of contemporary art, artists do not produce works, but images and events that elicit specific practices. The relationships that produce their performances and installations are characterized by restlessness and discomfort before, that the self-complacent belonging to a smal...
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| Autores principales: | , , , , , , , , , , , , , |
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2019
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| Acceso en línea: | https://bdigital.uncu.edu.ar/fichas.php?idobjeto=14125 |
| Sumario: | In the paradigm / poetics of contemporary art, artists do not produce works, but images and events that elicit specific practices. The relationships that produce their performances and installations are characterized by restlessness and discomfort before, that the self-complacent belonging to a small world, to a "microtopia" of the "people".What is experienced is the tension between the participating spectators and the context of the public sphere. Contemporary art intervenes in the domains of other social and political structures. The co-presence of the classes, the ethnic groups, the genres, the heterogeneity of the popular and the massive, that is to say the conflictivity of the visual cultureInterpreting, writing and thinking about the images of our contemporary visual culture requires reconsideration of the categories and ways of dealing with cultured images, not of art as a romantic object. But as an object of visual culture, product of popular cultures / mass / cultural industries / everyday life. This opens the intercultural dialogue or postcolonial interculturality, it is necessary to think other categories such as image, visual culture and specific context.In our local scene there are two tendencies. One, product of the uncritical incorporation to the international mainstream. Another the continuation of art / politics / everyday life.We are interested in interpreting, writing and thinking about projects that pose a critical reflection on key issues in the configuration of contemporary experience. Especially those oriented to detect and decode the mechanisms of control and power through which the hegemonic view is built, exploring the decisive role played by the mass media in this processRosalyn Deutsche affirms that the public sphere can only preserve its democratic character insofar as naturalized exclusions are considered and open to contestation:The problem of microtopies, reduces its field of action to the pleasures of a private group whose members identify themselves as "art lovers"Our objective is to study from the interventions in the public space to the video and the photography, from the edition of printed publications to the use of Internet and the new digital tools, they go to other possible experiences of the world. |
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