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Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En el presente artículo exploramos las posibilidades expresivas y reflexivas de la conjunción entre performatividad y estudios críticos de discapacidad. A través de la obra Kintsugi -desarrollada en el marco de la exposición Aula Cero y el proyecto de investigación EDIN (Educación, Discapacidad, Inclusión) de la Universidad de Cuenca- queremos comprender mejor la experiencia de personas con discapacidad en el ámbito de la educación superior y visibilizar su lucha cotidiana en contextos excluyentes. Se utiliza como metáfora la técnica de restauración de cerámica fracturada con metales preciosos denominada kintsugi para ensamblar una narrativa en video con fragmentos de rostros, reflexiones, cuerpos y testimonios sobre la experiencia de la discapacidad. Con esta obra colaborativa y multimodal se propone una revisión de la idea de normalidad y su enfoque restrictivo, posicionando una reflexión sobre la potencia que alberga la discapacidad y el arte para interpelar ciertas nociones hegemónicas y crear nuevas narrativas

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El siguiente estudio se centra en el debate político y artístico de la producción artística en Latinoamérica que han desarrollado un modelo de descentramiento de las cuestiones históricas que han dado como resultado un imaginario intervisual, es decir, abiertos a múltiples asociaciones visuales e intelectuales de carácter diáspórico. Así también se analiza las creaciones multimedia de La estética relacional formulada por Bourriaud que es ofrecida a la industria cultural como un nuevo movimiento donde los usos sociales de la obra de arte se reinventan, o simplemente surgen por generación espontánea. Aportamos distintas visiones que no solamente trazarán unas líneas evolutivas de lo que es el arte participativo hasta su deriva relacional, sino también confrontar ideológicamente la constitución política del arte audiovisual del arte diaspórico latinoamericano y relacional. Los casos de estudio se centran en obras audiovisuales y performativas de Francis Alÿs, Dominique Gonzalez-Foerster y Douglas Gordon.

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A pesquisa estuda o editorial de moda como narrativa fotográfica e analisa os conceitos de arte relacional, comparando no tempo o posicionamento e a liberdade criativa das editorias de moda com os seus colaboradores. Cada vez mais a arte vem construindo um campo que valoriza a imagem como o lugar das experiências, no qual o espectador é convidado a ser participante da obra e a assumir a mesma importância do artista. A obra só é completa com o fruto dessa relação. Os autores estudados são Nicolas Bourriaud, Anne Cauquelin e Vilém Flusser. Faz uso da pesquisa descritiva com foco nos editoriais de moda, onde observa-se a relação das editorias, dos colaboradores e de seus espectadores. Por fim, busca-se compreender de que maneira um editorial de moda, fruto do diálogo entre a inspiração e as relações compartilhadas durante o processo artístico, pode ser considerado uma forma relacional.

En esta obra-capítulo invitamos a las personas a escribir su mapa interno de la dictadura a partir de sus recuerdos personales y/o colectivos en una computadora, mientras la escritura era proyectada en la pared, reencontrándose así con el elemento vivo que se hacía presente: la memoria. Este ejercicio colectivo se convirtió en presente que narra, que enuncia, que crea realidad. El resultado es un texto colectivo en el cual las personas han compartido sus voces, experiencias y recuerdos.

Este é um relato de experiência sobre uma trajetória de aproximação ao povo Huni kuĩ pelo viés da estética relacional, com o objetivo de suprir uma escassez dos saberes tradicionais nos espaços formais de educação. Para enriquecer o encontro de alteridades, houve o processo reflexivo “Teatro com a floresta”, visando potencializar o acontecimento teatral pelo viés ecológico. Três eixos emergiram desse processo: o público, a socialidade e o espaço. Como meio prático dessa busca foram utilizados o teatro de João Redondo e o teatro de Lambe-Lambe dentro do ambiente tradicional da comunidade, a floresta. Os principais autores utilizados foram: Nicolas Bourriaud (2009), André Carreira (2009, 2013), Els Lagrou (2002, 2010) e Fritjof Capra (1997).

Partiendo de algunas perspectivas teóricas sobre la construcción social del espacio y teniendo presentes los estudios que vinculan el arte actual y ese nuevo concepto espacial, este artículo investiga las posibles articulaciones entre espacio social, arte y forma de exposición de ese arte. Con la ayuda de dos propuestas artísticas de la última edición de documenta, se reflexiona acerca de la construcción social del espacio expositivo. Documenta 14 se entiende como el resultado de unos cambios políticos y sociales más generalizados. Su propuesta expositiva sigue una tendencia que viene consolidándose los últimos años. En el presente artículo sirve como ejemplo de creación de un nuevo espacio relacional, ampliado hacia lo temporal y lo social, como medio de representación de una sociedad inclusiva en un entorno social adverso. Abstract Based on some theoretical perspectives on the social construction of space and bearing in mind the studies that link current art and this new spatial concept, this article investigates the possible articulations between social space, art and ways of exhibition of that art. With the help of two artistic proposals from the latest edition of documenta, we reflect on the social construction of the exhibition space. Documenta 14 is understood as the result of more generalized political and social changes. Its expository proposal follows a trend that has been consolidated in recent years. In this article serves as an example of creating a new relational space extended to temporal and social dimensions, as a way of representing an inclusive society in an adverse social environment.

Esta entrevista com Tania Alice, artista-pesquisadora, aborda a trajetória de sua virada do teatro para a performance de arte relacional como cura que hoje vem assumindo uma radicalidade maior como atravessamentos entre projeto artístico, social, urbano e terapêutico. Seus trabalhos também envolvem intervenções urbanas e atravessamentos poéticos coletivos, interlocuções afetivas e sociais entre vidas na escala público e privado. A conversa foi realizada no dia 8/4/2019 no NEPAA, UNIRIO, Rio de Janeiro.

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet article se penche sur trois expositions d’art actuel présentées en région, au Québec, entre 2017 et 2019, qui, à travers un certain nombre de gestes décoloniaux, tissent des liens entre art, musées, communautés et territoire. Les artistes et commissaires – autochtones et allochtones – engagés dans ces trois projets développent des stratégies ancrées, notamment, dans l’art relationnel afin de développer des réflexions critiques quant à l’inscription de l’espace muséal – espaces de création, de diffusion et de contrôle de connaissances – en territoire colonisé. Les autrices souhaitent ainsi, par l’étude de ces trois projets, explorer l’engagement possible de l’art contemporain dans des projets de restitution et de nouvelles formes de relationalité entre musées et communautés.

Lo que las prácticas artísticas colaborativas buscan situar encima de la mesa es la importancia de volver a restituir los lazos de unión del arte con la vida, como intento de construcción de mundo al margen de cuestiones económicas y mercadotécnicas. Entendiendo el arte como algo alejado ya de postulados individualistas, ajeno a cuestiones como autoría u originalidad, este dossier para la sección “Diálogos” de Umática pretende mostrar parte de esta red de producción de sentido horizontal y transversal, a través de tres iniciativas ancladas de lleno en la máxima “Espacio público y tejido social: arte colaborativo en tiempos de crisis”, título que da pie a este número de la revista.

A partir do conto “O brasão da cidade” de Franz Kafka propõe-se examinar a construção da imagem da cidade, assim como as relações nela estabelecidas dentre os habitantes. Ainda, literatura e arte relacional serão aproximadas, propondo identificar o conto como obra de arte e sua narração como gesto de exibição dessa obra, questionando a possibilidade de associação da ação performática que o texto desenvolve para o leitor com a noção de performance como prática artística inscrita na arte contemporânea.

Las prácticas artísticas de naturaleza participativa en el arte contemporáneo han propiciado que se constituyan como catalizadoras de sociabilización per se. Sus métodos para activar a la audiencia, las metodologías procesuales de colaboración y los grados de implicación del público pueden ser sumamente diferentes. El objetivo de este artículo es analizar distintos procederes de las praxis artísticas contemporáneas bajo postulados participativos de socialización. Se definen diversas tipologías participativas refrendadas por obras de artistas. Asimismo, se ofrecen reflexiones sobre el cambio de rol del artista y del público, la escisión de la creación objetual, el impacto social que pueden generar y su valor estético.

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El presente ensayo intenta responder a la pregunta ¿qué es ‘arte’? Partiendo de la generalidad, para terminar en una propuesta de práctica artística contemporánea con una perspectiva de género, entendido éste como una construcción social. Se presenta a la ASOCIACIÓN MAMARRACHXS QUEER (AMQ) como artista con personalidad jurídica. A lo largo del escrito, se plantean cuestiones esenciales necesarias para comprender las prácticas artísticas propuestas, como son los elementos espectador, arte de acción y de transformación social, arte y asociacionismo o archivo. Para ello se expondrán diferentes artistas y ejemplos que acompañarán las tesis principales. Finalmente, se proponen las prácticas artísticas desarrolladas por AMQ, centradas en valores de identidad de género y cuestiones LGTBIQ vinculadas a metodologías de intervención social.

Este estudo propõe discutir o desenho como ação, o (auto)retrato como dispositivo de arte relacional a partir de uma reflexão sobre as ações realizadas dentro do projeto “mirar(nos) otras”. Trata-se de uma proposta de exposição/intervenção/ação que ocorre em um espaço de encontro feminista na cidade de Madrid em 2019, experimento que forma parte de um projeto de pesquisa de Pós-Doutorado, realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brasil (CAPES). A partir da apresentação do processo de criação da proposta, seus antecedentes e desdobramentos, discute-se a possibilidade de encontro por meio da experiência estética e do processo de construção de imagens, tratando-se também de uma de investigação dos modos e espaços de resistência e criação de novas subjetividades encontrados por mulheres diversas.

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Bourriaud formuló en la década de los ‘90 su estética de lo relacional, donde describía la relación entre la obra y el espectador, determinando como el significado es elaborado colectivamente, pero adscribiéndose a obras que específicamente están construidas mediante la participación del espectador. En el siglo XXI este tipo de manifestaciones se han multiplicado en número exponencialmente, sin embargo algunos autores resaltan que los resultados no dejan de ser individuales y contemplativos e incluso que la participación puede producir jerarquías entre las personas. Ante esto, en la actualidad, existen artistas y colectivos dedicados al arte urbano que buscan precisamente crear espacios donde las comunidades sí puedan ser igualitarias, pero ¿cómo se produce la conservación de las obras cuando son colectivas? En este trabajo se analizarán distintos casos mediante entrevistas a artistas y comunidades y documentación.

This article sets out to analyze the ethics and aesthetics of care in relation to collaborative art practices in which life experience is fused with the artistic creation. This close link between the intimate and the social sphere leads us to the slogan “The personal is political” (1969), of the feminist Carol Hanisch, which serves as the starting point for numerous artists, focusing on what has been traditionally protected in the field of privacy. These premises will be articulated from various initiatives –from artists like Eulàlia Valldosera, Marga Ximenez and Nora Ancarola– that explore relationships in social and family structures. We conclude, based on the analysis of specific cases, in pointing out how creation could become a tool to increase critical thinking and a way to politicize social malaise.

The concept of Relational Aesthetics is based on a poetic construction centered on human and social relationships, and it is usually thought outside the artistic institutions environment. This kind of practice gets stronger in the 1960s and the 1970s, and it stands out on the poetry of the artist Hélio Oiticica, mainly on his work entitled Parangolé. However, the conceptualization of this theme happens only in 1990, by the french critic Nicolas Bourriaud, who disregards Oiticica’s work, focusing his analysis on the work of European artists from the end of the 20th Century. Finally, although these poetic intentions refer from the 1960s, they were institutionally celebrated inside the Brazilian scene only in 2006, at the 27th São Paulo Biennial. This article seeks, therefore, to reflect upon these conceptual mismatches and the different temporalities that runs through the three above-mentioned events.

En el presente artículo se analiza la concepción de estética relacional de Nicolas Bourriaud, ahondando en la estrecha vinculación de ciertas prácticas artísticas performativas con la participación activa del espectador en la creación de situaciones construidas. A partir de determinadas acciones de Marina Abramović y Tino Sehgal, en las que el público deviene uno de los agentes principales, se bosquejarán los vasos comunicantes entre el creador y la audiencia, entre la experiencia individual y la colectiva. Bajo tales premisas el arte parte de la voluntad de emocionar, conmover, conmocionar, y se establece claramente la conexión entre la esfera pública y la íntima. Dentro de dichos parámetros la obra de arte deviene un intersticio social, un instrumento para esbozar nuevos modos de relación, lo que Bourriaud denomina “utopías de proximidad” o “micro-utopías”. Tales situaciones construidas entienden la creación, en definitiva, como un dispositivo para dar que pensar y fomentar el diálogo y el pensamiento crítico.This paper analyses the concept of relational aesthetics proposed by Nicolas Bourriaud considering the close connections of some performative art practices with the active participation of the spectator in the creation of «constructed situations». I will examine a range on actions of Marina Abramović and Tino Sehgal, in which the audience becomes one of the main agents: stressing the relationship between creator and spectator, between individual and collective experience. Under such premises art shows the will to move, to touch, to affect deeply, connecting the public with the private sphere. Within these parameters, the work of art emerges in the interstices of society as a tool to outline new ways of creating relations, which Bourriaud termed «utopias of proximity» or «micro-utopias». Such situations understand creation as a device to give food for thought and encourage dialogue and critical thinking.

Este é um registro de investigação em torno do processo criativo do Dispositivo de Emergência. Uma grande e confortável almofada vermelha no meio do caminho contém ideias que transgridem certas normas do convívio e cria novos roteiros no cotidiano, permitindo, mais do que representar a vida, refazê-la. Através de narrativa artográfica suscitamos histórias e imagens, destacando os tangenciamentos deste trabalho com a arte relacional e site-specific, compreendendo em seu caráter questionador a possibilidade de despertar acontecimentos pedagógicos.

O artigo propõe um alargamento do conceito de arte socialmente engajada de Pablo Helguera, utilizado para descrever trabalhos artísticos que borram as fronteiras entre projeto social e projeto artístico. A partir da análise do processo de criação da performance Bate-Papo na Cama, e que consiste em colocar a minha cama em espaços públicos de diferentes países do mundo, o artigo pretende pensar como a prática artística pode ser intensificada e aprofundada pelos recursos oferecidos pelo somatic experiencing (SE) A prática, desenvolvida por Peter Levine, ajuda a pensar, conceber e realizar projetos artísticos fronteiriços não somente entre projeto artístico e projeto social, mas também que borrem as fronteiras com o projeto terapêutico, seja ele individual ou coletivo, gerando o conceito de performances de arte relacional como cura (PARC).

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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O conceito de Estética Relacional baseia-se em uma construção poética centrada nas relações humanas e sociais e geralmente é pensada fora do ambiente das instituições artísticas. Esta prática ganha força a partir da década de 1960-70 e se destaca na poética de Hélio Oiticica, principalmente na obra Parangolé. Contudo, a conceitualização do tema acontece apenas em 1990 pelo crítico francês N. Bourriaud, que desconsidera o trabalho de Oiticica e foca suas análises em artistas europeus do final do século XX. Por fim, apesar destas intenções poéticas remeterem à década de 1960, elas foram celebradas institucionalmente no cenário brasileiro apenas em 2006, na 27ª Bienal de São Paulo. O artigo busca, desta forma, refletir sobre os desencontros conceituais e as temporalidades distintas que perpassam os três eventos mencionados.

De la mano de tres proyectos artísticos —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2014) de Lee Mingwei y The Land Foundation (1998) de Rirkrit Tiravanija— este artículo reflexiona sobre algunos de los preceptos metodológicos que fundamentan las bases teóricas y conceptuales del arte participativo en el espacio público. Tomadas como casos de estudio sobre arte participativo, sendas proposiciones permiten explorar los conceptos de arte relacional / estética relacional propuestos por el comisario francés artífice del Altermodernismo, Nicolas Bourriaud, así como desarrollarlos y expandir este estudio considerando otros debates contemporáneos vinculados con la investigación basada en la práctica artística (practice-led research / practice-based research in the arts), ampliamente abordados por Hazel Simth y Roger T. Dean en su libro Practice-led Research, Research-led Practice in the Creative Arts (2009). Las propuestas de arte participativo en el espacio público implican un diálogo con el público — relational art o arte relacional antes mencionado—, se basan en la interacción, sociabilización y el intercambio entre los participantes así como en un diálogo con el entorno espacial —site specific art, es decir aquél arte diseñado específicamente para una localización determinada y que mantiene una interrelación con el propio espacio—, nos encontramos por tanto ante un tipo de creaciones de inmensas posibilidades creativas y resolutivas, lo cual no hace más que engrandecer el valor que conlleva su propia praxis. De otra parte, por su misma naturaleza, el arte participativo no puede aventurarse a prefijar un resultado objetual artístico ya que, muchas de las veces, gravita sobre las acciones u actividades más que en la realización de objetos. Si bien se pueden augurar determinadas respuestas e interacciones, no se pueden dar resultados apriorísticos sobre las actitudes de los participantes, lo que resulta en una obra abierta. Esta característica de “lo abierto” no significa inconcluso. Veremos como otro de los preceptos que constituyen las prácticas artísticas participativas en el espacio público puede albergar un final abierto de múltiples resoluciones. En última instancia, este artículo busca definir los primordiales principios constituyentes del arte participativo en el espacio público en nuestra contemporaneidad, con la finalidad de invitar, tanto a teóricos sobre la materia como a artistas, a su comprensión, divulgación y “participación” activa.

Mirror neurons are specialized neurons which echo the movements perceived in another's body in incipient movements in one's own body, in a kind of involuntary kinesthetic empathy. Their discovery has given rise to a far-reaching reassessment in cognitive science, the arts, and the humanities of the role of empathy and the self-other relation in the constitution of the sense of self. Mirror-touch synesthesia (when a perceived touch to another's body elicits in the perceiver the sensation of being similarly touched) is one of the forms this "empathy" takes. This article takes mirror-touch synesthesia as a jumping-off point to reconsider synesthesia as a whole, and in particular its relation to empathy, and the relation of empathy to movement. It is argued that the usual vocabulary used to analyze these issues -- identi cation, body image, defect or "confusion" in the body's spatial schema -- are vitiated by a cognitivist bias which carries presuppositions that obscure the complexity of the emergent organization of experience. A philosophical rethinking is necessary as a corrective. The article undertakes this project with the aid of process-oriented philosophers C.S. Peirce, Henri Bergson, and A.N. Whitehead, proposing a framework centering on the notion of a "virtual body" composed of the integral mutual inclusion of potential qualities of experience which are selectively "composed" in movement. The emphasis on the performative self-composition of experience involves replacing the prevailing model of cognition with a fundamentally aesthetic model.

El presente artículo es una aproximación al proyecto Signs that say what you want them to say and not Signs that say what someone else wants you to say (1992-93), de G. Wearing, a partir del relato del proceso o la historia del proyecto. Conversaciones con la artista, publicadas entre 1997 y 1999, nos permiten la reconstrucción del proceso a fin de aprehender, desde una perspectiva más amplia, una obra de referencia para la práctica artística actual.

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Nicolas Bourriaud proposes a discussion on the readability of certain artistic expressions where the absence of a theoretical discourse can decode the social practices that shape contemporary art. These expressions social interactive ways of presenting them as a "relational aesthetics." For this work we will use AcT to callthe complex object of relational expressions that use principles of science and technology. This set of objects, actions with aesthetic purposes will force us to look in to Latinoamerica society. The latin term tekhne or techne is the experience of the skilled trades or craft, designated by the ancient Greeks as the 'effective action' and opposes the notion of praxis given by Aristotle, who is an immanent action carries within itself its own end and is directly related to poiesis, while activity leading to a result, the activity aims a product other than the activity itself. What we perceive 'already - there' of 'Latin America' is a centripetal tension from artistic conceptualism of art, utopian visions, idealists who seek an active and 'fatal' deviation from the course of history. As heteronomy,these don't start formal disorder, even minimal concepts that can be classified as social criticism, deconstructive or subversive, but are mainly subjective views of everyday, ordinary reality that not everyone sees, but at the same time is strongly familiar mainly by the mass media. These active works of art are exhibited in audiovisual forms such as video art, concrete music and circuitbending. These effective technological actions are facts that would fall outside the acceptability and normal intelligibility instituted for hegemony primarily set impulses of traditional art and come in direct contact with the language and its context, ie, supposed phenomena of significance with deep structures orsemes associated with the reality of Latin American society. All these topics, which serve to develop arguments are tópica l, ars inveniendi or art of invention, and its purpose part of the rhetoric, is to establish the content of the speech. Social discoursesare everything that is published and is known in a state of society, everything is represented in the media, is all that counts, it is said and understood. So, is narrating operations where we can find an argument, are operations into discourse. The doxa in social discourses in AcT establish a new experimental uses or different readings from the predictable. Lures innovation can boast a potential totalitarian, which means reducing the technologicalexperimentation foreseeable in Latin America, as a place in development. What is stated in the social life of the accused AcT strategies recognize their positioning statements, incentives projects for innovation and development, and operate according such recognition to obtain benefit from state cultural policies. As presented by Marc Angenot in 2010, the social discourse, as global unity, is the result of multiple, but not random strategies, thus presenting somenarrow monosemic towards social transformation. [ABSTRACT FROM AUTHOR]

The present article aims to meditate about the current aesthetics and relational art. To understand it in its own context, I refer myself firstly to the sculpture development in the expanded field until the current relational aesthetics theorized by critic and curator Nicolas Bourriaud critic. At the end I introduce artist Rirkrit Tiravanija because of the relevance of his work, which is remembered and discussed always when we think about relational art.

Contemporary cultural change leads to the emergence of participative artistic expressions which are developed in public spaces and explore experimental forms of socialization. This piece looks at the constitution of this novel artistic regime, its articulation with various political dimensions and their integration with the production of autonomous subjectivities. [ABSTRACT FROM AUTHOR]

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Resumo O artigo aborda o trabalho da plataforma clínico-performativa Performers sem Fronteiras (PsF), que trabalha em contextos de pessoas em situação de trauma pontual ou crônico, bem como em ações de cultivo e promoção de saúde. Vamos abordar a interface arte/cura a partir do conceito de PARC (Performances de Arte Relacional como prática de Cura), desenvolvido por Tania Alice, em algumas ações clínico-performáticas realizadas pelo conjunto da plataforma, em volta de três eixos norteadores do trabalho do coletivo: 1. O movimento livre como prática clínica pela criação de plataformas pontuais de livre expressão do corpo. 2. O empoderamento dos participantes, pensado a partir de um trabalho realizado por dois integrantes do PsF junto a usuários da rede de saúde mental do Rio de Janeiro intitulado “Todo sonho bem sonhado pode um dia virar realidade”. 3. A potencialização dos afetos dentro da performance “Correio de abraços Brasil/Nepal” de Tania Alice.