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Arte e artistas migrantes: Um universo simbólico na formação da sociedade brasileira

100%
Silva Rossi M.
Revista del CESLA. International Latin American Studies Review
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2021
|
issue 27
31-48
EN
Much has been sought and searched for the true roots of our nationality. This theme presented itself more comprehensively in the first decades of the twentieth century, leading our intellectuals to reflect on what we are and what we are not; between recognizing a national originality or accepting foreign theories. In an attempt to understand Brazilian culture, deeply contrasting images and reflections were produced among themselves. This research resumes this discussion, having as line of argument the place that art and immigrant artists in São Paulo occupied, in the long and contradictory process of formation of Brazilian society. Transiting through the symbolic universe from which emerge forms and artistic representations, relations and meanings, this study starts from the assumption that art promotes man’s encounter with himself and with his culture, and that the aesthetic manifestations of a society, when in tune with the historical moment, are able to reveal its essence, in what it has of material and immaterial.
ES
Muito se procurou e se procura as autênticas raízes da nossa nacionalidade. Esse tema se apresentou de forma mais abrangente nas primeiras décadas do século XX, levando a nossa intelectualidade a refletir sobre o que somos e o que não somos; entre reconhecer uma originalidade nacional ou aceitar as teorias estrangeiras. Na tentativa de compreender a cultura brasileira, produziram-se imagens e reflexões profundamente contrastantes entre si. Esta pesquisa retoma essa discussão, tendo como linha de argumentação o lugar que a arte e os artistas imigrantes em São Paulo ocuparam, no longo e contraditório processo de formação da sociedade brasileira. Transitando pelo universo simbólico do qual emergem as formas e as representações artísticas, as relações e as significações, este estudo parte do pressuposto de que a arte promove o encontro do homem consigo mesmo e com a sua cultura, e que as manifestações estéticas de uma sociedade, quando em sintonia com o momento histórico, são capazes de revelar a sua essência, no que ela tem de material e imaterial.
2
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Infancia y temporalidades queer en la Galería del Rojas

100%
Lemus C.
InterAlia: Pismo poświęcone studiom queer
|
2017
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issue 12
53-69
ES
El presente trabajo explora la producción artística de Marcelo Pombo, Fernanda Laguna y Omar Schirilo, artistas nucleados en el Centro Cultural Rector Ricardo Rojas de la ciudad de Buenos Aires durante los años noventa, a través de operaciones plásticas, materiales, contenidos y referencias visuales vinculadas a la infancia como modo político de interferir con la normatividad y con las ficciones normativas que regulan el canon artístico. Mediante estas ideas, se pensarán las imagénes a partir de los reordenamientos estéticos y políticos provistos por las temporalidades queer.
EN
This paper explores the works of art by Marcelo Pombo, Fernanda Laguna and Omar Schiliro, artists working in the Centro Cultural Rector Ricardo Rojas in Buenos Aires during the 1990’s. Their plastic operations, materials, contents and visual references are related to childhood as a political way of interfering with heteronormativity and normative fictions that regulate the artistic canon. Through these ideas, we will think of the images from the aesthetic and political rearrangements that provide queer temporalities.
3
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L’arredamento dell’Ambasciata d’Italia a Varsavia. Nuove acquisizioni documentarie

80%
D'Agostino A.
Biuletyn Historii Sztuki
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2023
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vol. 85
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issue 1
117-144
EN
The present essay, aimed at reconstructing the history of the works of art which furnish the Italian Embassy in Warsaw, originates from the study of archival documents from the STRP Fund (formerly the Technical Service of Patrimonial Reconnaissance) kept at the General Directorate of Archaeology Fine Arts and Landscape of the Ministry of Culture (MIC). The fund consists of the documentation, mostly unpublished, produced by the Technical Service, which was created in 1993 as a Commission, conceived by Minister Alberto Ronchey, with the aim of taking a census of cultural assets granted in external storage by state museums to entities in Italy and abroad, which in 1995 had been transformed into a Service reporting directly to the General Secretariat of the Ministry itself but was suspended in 2003. The last patrimonial reconnaissance was carried out at the Italian Embassy in Warsaw twenty-one years ago and since then no more checks have been done. Therefore, in addition to analyzing the history of the works of art chosen to furnish the Embassy since 1922, the essay updates the data and gives new interpretations on the events that, both before and after the 2nd World War, led to its furnishing; moreover, it is meant to be a food for thought regarding the protection of Italian artistic heritage which since the first decades of the last century until the present has been in external storage without due control.
IT
Il presente lavoro, volto a ricostruire la storia dell’arredamento dell’Ambasciata d’Italia a Varsavia, ha origine dallo studio dei documenti d’archivio del Fondo STRP (ex Servizio Tecnico di Ricognizione Patrimoniale) conservato presso la Direzione Generale Archeologia Belle Arti e Paesaggio del Ministero della Cultura (MIC). Il fondo è costituito dalla documentazione – perlopiù inedita – prodotta dal Servizio Tecnico, nato nel 1993 come Commissione, voluta dal Ministro Alberto Ronchey, con l’obiettivo di censire i beni culturali concessi in deposito esterno dai musei del demanio ad enti in Italia e all’estero. Nel 1995 la Commissione fu trasformata in Servizio alle dirette dipendenze del Segretariato Generale del Ministero stesso ma nel 2003 venne sospeso. Ben ventuno anni fa fu effettuata l’ultima ricognizione patrimoniale presso l’Ambasciata d’Italia a Varsavia e da allora più nessun controllo è stato fatto. Pertanto, questo lavoro, oltre ad analizzare la storia delle opere d’arte scelte per arredare l’Ambasciata fin dal 1922, ne aggiorna i dati e dà nuove interpretazioni sulle vicende che, sia prima che dopo la Seconda Guerra Mondiale, portarono al suo arredamento; inoltre, vuole essere uno spunto di riflessione sulla tutela di quel patrimonio artistico italiano che ancora oggi, fin dai primi decenni del secolo scorso, si trova in deposito esterno senza i dovuti controlli.
4
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Il concetto di mimesi e la sua interpretazione nella letteratura

80%
Janowska K., Hybiak M.
Forum Filologiczne Ateneum
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2021
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vol. 9
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issue 1
251-274
EN
Mimesis as a theoretical and literary term was already formed in antiquity. Attempts to define it have already been made by Plato in his dialogues, while it was only Aristotle in his congenial Poetics who formulated this topic in a way that became the basis for scientific discussions and inquiries, many of which continue to this day. Mimetic creativity dominated art for hundreds of years, reaching the peak of popularity at the turn of the 19th and 20th centuries (although earlier trends emerged and functioned that almost programmatically turned away from this creative path; an example could be art from the Romantic era with all its mystical aspects). In the 20th century, art began to change very dynamically, in a way following the incredibly fast industrial and technological development in Europe and around the world. This, in turn, resulted in the dynamic development of new trends, new ways of thinking about art.
IT
La mimesi come termine teorico e letterario si è formata già nell'antichità. Tentativi di definirlo sono già stati fatti da Platone nei suoi dialoghi, mentre fu solo Aristotele nella sua congeniale Poetica a formulare questo argomento in modo tale da diventare la base di discussioni e indagini scientifiche, molte delle quali continuano ancora oggi. La creatività mimetica ha dominato l'arte per centinaia di anni, raggiungendo l'apice della popolarità a cavallo tra il XIX e il XX secolo (sebbene siano emerse e funzionassero tendenze precedenti che quasi programmaticamente deviassero da questo percorso creativo; un esempio può essere l'arte dell'era romantica con tutti suoi aspetti mistici). Nel XX secolo, l'arte ha iniziato a cambiare in modo molto dinamico, seguendo lo sviluppo industriale e tecnologico incredibilmente rapido in Europa e nel mondo. Questo, a sua volta, ha portato allo sviluppo dinamico di nuove tendenze, nuovi modi di pensare l'arte.
5
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Art, Culture and Innovations: A Shift in Urban Engineering? Public Policies in Bogota and Medellin and the Development of Local Communities

80%
Wereta K.
Revista del CESLA. International Latin American Studies Review
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2014
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issue 17
215-233
EN
The article is a part of a broader discussion about municipal development strategies based on culture and innovativeness. It analyzes the potential and constraints of the approach, indicating conditions favorable for its effectiveness. To exploit the phenomena the author uses the examples of two Colombian cities, Bogota and Medellin. Over last two decades they have been an area of huge transformation. Thanks to adapted policies, it was possible to convert their image from brutal gang-war zones to vibrating metropolis aiming at peaceful social co-existence and infrastructural investments. The chosen cases serve as a background of synthetic description of developmental strategies based on culture and innovativeness. The analysis presents factors that are advantageous for their successful implementation. It also offers several points of critics, outlining some practical, social and institutional challenges that cities willing to adapt similar solutions may come across with.
ES
El artículo es parte de una discusión más general sobre estrategias de desarrollo municipal basadas en cultura y capacidad para innovar. Analiza el potencial y las restricciones de este enfoque, indicando las condiciones favorables para su efectividad. Para explotar el fenómeno el autor utiliza los ejemplos de dos ciudades Colombianas, Bogotá y Medellín. Durante las últimas dos décadas estas han sido un área de gran transformación. Gracias a las políticas adaptadas, fue posible convertir su imagen de zonas de brutal guerra entre mafias a vibrantes metrópolis aspirando a una coexistencia social pacifica e inversión en infraestructura. Los casos escogidos sirven como trasfondo para la descripción sintética de estrategias de desarrollo basadas en cultura y capacidad para innovar. También ofrece varios puntos críticos, delineando algunos retos prácticos, sociales e institucionales que las ciudades que deseen adaptar soluciones similares pueden encontrar.
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