FCSH: IHA - Artigos em revista internacional com arbitragem científica
URI permanente para esta coleção:
Navegar
Entradas recentes
- Proximity and ComplicityPublication . Roby, Benedita; Instituto de História da Arte (IHA); VisualCOM Scientific PublicationsThe reciprocity between the two practices can emerge on various levels, and since it is impossible to fully explore all of them in this article, two hypotheses will be formulated regarding the affinity between the two arts. The first chapter considers the proximity between graffiti and the cinematographic apparatus, particularly in the production of another visuality, or a counter-visuality (Mirzoeff, 2011). The next chapter analyzes the complicity between graffiti and the film medium, in the production of an alternative history (Rancière, 2009) or a counter-public sphere (Sholette, 2017).
- Spectrality and the Plural BodyPublication . Naidenov, Yana Andrea; Instituto de História da Arte (IHA)This article surveys the role of the spectral body as a device of transgression, multiplicity and entanglement, through a comparative study of the film Uncle Boonmee Who Recalls His Past Lives (2010), by the contemporary artist and filmmaker Apichatpong Weerasethakul, and short film installation by contemporary artist Korakrit Arunanondchai, titled No History in a Room Filled with People with Funny Names 5 (2018) at Serralves Contemporary Art Museum, Porto, co-produced with Alex Gjovic and boychild. The body enacts a spectral, pluralistic device in the narrative strategies devised by the authors, traversing physical and spiritual dimensions in diegetic and extra-diegetic spaces, entangling subjects, territories, esoteric and spiritual traditions, postcolonial histories, and sociological dimensions.
- Everyone has a story to tellPublication . Roque Martins, Patrícia; Instituto de História da Arte (IHA); Ediciones ComplutenseThis article aims to act as an important and politically grounded counternarrative to the dominant discourse of disability, having the potential to unravel the myth of normalcy that undergirds so many of the exclusionary practices today. It will be focused on the author ́s biography in the world of disability and in the ways in which this legacy was reflected in her academic research, lecturing classes and conference presentations in the area of disability studies, particularly in the field of visual arts and museums studies. Concepts related to the cultural meaning of disability and its representations within museological practices will be explored to introduce new views related to the potential of museums to be active agents in social inclusion. As a final objective, this article is intended to contribute to the development of innovative and more positive perspectives on the identity of people with disabilities, supporting their active participation within the museum sector as producers of meanings, creating fairer and less prejudiced interpretations around museum collections to publicly present disability stories.
- The O Grupo do Leão VR:Publication . Roque Martins, Patrícia; Instituto de História da Arte (IHA); Universidade Catolica PortuguesaThis article examines how drama activities and computer technology acts as an effective bridge of mediation between the artwork and the visually impaired audience. Museums are essential for connecting visitors to history and culture, as they act as a reflection of the social past and present. It is necessary for the institution itself to reconsider its museographic strategies, offering inclusive multimodal experiences. The text presents the findings of the exploratory project O Grupo do Leão: Explorando a Inclusão das Pessoas com Deficiência Visual em Museus Através de Uma Experiência Virtual Imersiva, developed at the Museu de Arte Contemporânea do Lisboa (Portugal) between November 2022 and February 2023. The methodology, objectives, procedures/materials used, and conclusions obtained from the interviews with the participants are detailed, focusing on the integration of the sense of touch as an effective museographic strategy for visitors who are blind and partially sighted.
- Cuestiones sobre la criptocultura y los NFTsPublication . Rivero-Moreno, LD; Instituto de História da Arte (IHA); Universidad Complutense de MadridDurante 2020 y 2021 asistimos al boom de un nuevo mercado artístico de la mano de los de NFTs(Non Fungible Tokens), con ventas millonarias, así como la aparición de un enorme número de plataformas y un debate mediático en torno al arte digital nunca antes visto. Este estudio trata de analizar la situación de las imágenes y los creadores asociados a la nueva tecnología blockchain. Para ello se pretenden retomar y adaptar a este contexto cultural específico las ideas de Byung Chul Han sobre la sociedad del cansancio y la sociedad de la transparencia. El objetivo final es aclarar si el arte asociado a esta nueva cultura tecnológica es la consecuencia del tipo de sociedad radiografiada por Han. Si así fuera, podría hablarse de un nuevo tipo de arte adaptado a la propia aceleración y automatización de los procesos de producción, distribución y consumo de bienes actuales. También de la conformación de una “estética del cansancio” derivada en gran parte del hiperempleo sufrido por los creativos y por la inflación de la imagen mediática y artística. En las nuevas circunstancias ultraliberales de la cultura, las obras de arte terminan por reducir su impacto a lo económico, convertidas en activo financiero de rápida digestión y que conlleva la anulación de toda posibilidad de una experiencia estética pausada, reflexiva y/o crítica. During 2020 and 2021 we are witnessing the boom of a new art market with NFTs (Non Fungible Tokens), accompanied by millionaire sales, as well as the emergence of a huge number of platforms and a media debate around digital art never seen before. This study attempts to analyze the situation of the images and creators associated with the new blockchain technology. To do so, it aims to take up and adapt Byung Chul Han's ideas about the burn-out society and the society of transparency to the mentioned cultural and artistic context. The ultimate goal is to clarify whether the art related to this new technological culture is the consequence of the type of society analyzed by Han. If so, we could speak of a new type of art adapted to the acceleration and automation of the current processes of production, distribution and consumption of goods. Also, of the conformation of a "burn-out aesthetics" derived from the hyper-employment suffered by creatives and the inflation of the media and artistic image. In the new ultraliberal circumstances of culture, the artworks end up reducing their impact to the economic, becoming a quickly digestible financial asset that entails the annulment of any possibility of a slow, reflective and/or critical aesthetic experience.
- The Royal Chapel of Pedro I of Castile in the Christianised Mosque of SevillePublication . Gumiel-Campos, P; Instituto de História da Arte (IHA); MDPI - Open Access PublishingPedro I of Castile (1350–1369) founded a royal chapel in the Christianised Mosque of Seville. He intended to house there his body, that of Queen María de Padilla, and their son the Infant Alfonso (1359–1362). This mausoleum is well documented both in the king’s will and in the chronicles of López de Ayala; however, there are no material remains as it was demolished with the construction of the new cathedral in the 15th century. In this article, we seek to produce a state of the art history of the building, a compilation of all the documentary sources that exist for its analysis, and an approach to the problems that hinder its study. We have also tried, unsuccessfully, to put forward a hypothesis about its original location, but we have come up against a dead end. Despite this, we consider it essential to lay all the cards on the table and prevent the mausoleum from falling into oblivion.
- Inventory of Roman Mosaics in Portugal.Publication . Duran Kremer, Maria de Jesus; Instituto de História da Arte (IHA); AIEMAAs part of the RoGeMoPorTur international cooperation project and in parallel with the Inventory of Roman Mosaics in Portugal, a catalogue of the different geometric motifs present on these pavements is being drawn up. In the present work-the second in a series that began with the study of the meander (Duran Kremer 2016) and is dedicated to analysing the meaning and iconography of the motifs chosen for the decoration of Roman mosaics in the current territory of Portugal-we focus on one of the oldest motifs present in the decoration of the pavement-the pelta.
- Blockchain culture and digital image precariousnessPublication . Rivero-Moreno, Luis D.; Instituto de História da Arte (IHA); Universitat Oberta de CatalunyaIn the last decades, the digital image has moved between the thin line that separates its exponential multi-plication and its continuous danger of invisibility and loss. Despite the fact of being constantly used on the internet or social network interactions, the difficulties in filtering, gathering, authenticating and preserving new media images have led them to be a type of art barely collected by contemporary art museums. Even more, the huge amount of material produced not only by artists or creatives but also by citizens makes it impossible for cultural institutions to tackle the task of preserving a significant percentage of it. Museums seem to be unable to distinguish what might be considered art or heritage among the massive amount of images that fed popular culture. Nevertheless, the irruption of blockchain culture has focused on the importance of digital images as an identity, social and economic asset. NFTs seem to attempt to remedy the weaknesses of the digital image by associating it with a verifiable and supposedly incorruptible contract. This study tries to analyse the precariousness of the digital image as a key element in the emergence and sudden rise and fall of the so-called “crypto-art”. To this end, the idea of the “poor image” outlined by Steyerl is followed. The aim is to clarify whether the digital images associated with blockchain transactions solve the problematic obsolescent and unstable condition of the works, or if, on the contrary, these are used as fuel for a new ultra-liberal financial machine being quickly consumed and discarded.
- Global turn in art history and methodological constellations on artistic circulationPublication . Iorio, Francesca; Instituto de História da Arte (IHA); Universidad Complutense de MadridThis article is situated within the context of exploring transnationality, circulation, and mobility as methodological devices/operational concepts in analyzing artistic artifacts, artists, and knowledge in motion. It delves into the interaction between art history and the global configuration of the contemporary age, reflecting on the application of methodological proposals from the global turn in the social sciences to the analysis of artistic mobility. Within this broader exploration, the article delves into the multifaceted nature of the genesis of reflections that have led to the emergence of global art history as a constellated phenomenon. It argues that the questioning of paradigms and the introduction of new terminology into the discipline cannot be solely attributed to art history itself. Instead, it emphasizes the need to examine the close association between this approach and broader movements of thought and historiography. At its core, the article highlights the crucial need for reevaluating language, lexicon, and research practices within historiographical movements. It advocates for the deconstruction of existing narratives and the creation of counter-narratives through a reconsideration of the terminology employed. This process fosters imaginative exploration bringing artistic analysis closer to current debates and ongoing reformulations of research practices.
- Mujeres, feminismos y educación artística experimental en América LatinaPublication . Alves, Margarida Brito; Lamoni, Giulia; Departamento de História da Arte (DHA); Instituto de História da Arte (IHA)