Emerging contemporary artists: a comparative study of Ertibil Bizkaia and Arteshop Bilbao

Ertibil Bizkaia and Arteshop Bilbao are two publicly financed institutional calls for the promotion of emerging artists in the context of the Basque Country, with both distinct and similar characteristics. In this paper, we examine the regulations that base the functioning of these calls to analyse the distribution of the budgets both programmes allocate to compensate for the work of the participant artists, during the period from 2012 and 2016. We also pay attention to the results of the competitive tenders of the artists in terms of concurrence and participation. The results confirm the main features of Thorsby’s theory of artists’ work preference (1994) and Frank and Cook’s (1995) theory of winner-take-all markets.; Ertibil Bizkaia y Arteshop Bilbao son dos convocatorias institucionales financiadas con fondos públicos, para la promoción de artistas emergentes en el contexto del País Vasco, con características tanto distintivas como similares. En este trabajo, examinamos las regulaciones en las que se basan el funcionamiento de estas convocatorias, para analizar la distribución de los presupuestos que ambos programas asignan ala compensación del trabajo de los artistas participantes, durante el período comprendido entre 2012 y 2016. También prestamos atención a los resultados de las licitaciones competitivas de los artistas en términos de concurrencia y participación. Los resultados confirman las principales características de la teoría de Thorsby sobre la preferencia de trabajo de los artistas (1994) y la teoría de Frank y Cook (1995) sobre los mercados donde el ganador se lleva todo

Tecnologías relacionales en las prácticas artísticas participativas: Casos, mecánicas y estrategias

Hoy en día el concepto de “tecnología” se identifica de manera naturalizada con las tecnologías duras (aquellas que desde las ciencias físicas y naturales se ocupan de aspectos tangibles de la realidad) dejando de lado las tecnologías blandas (entroncadas con las ciencias humanas y sociales, y que atienden a aspectos más intangibles). Dentro de las segundas estarían las tecnologías relacionales que son mecánicas que estructuran nuestras relaciones sociales. Conseguir entenderlas y utilizarlas de manera empoderada desde las artes, facilitaría que las creaciones artísticas generaran interacciones más relevantes en la sociedad y que los artistas aportaran visiones y maneras de proceder alternativas dentro del magma social de poderes intangibles en el que nos movemos. Este artículo define qué son las tecnologías blandas, sitúa en ellas las tecnologías relacionales (en su tres vertientes comportamental, comunicacional y organizacional) y extrae las mecánicas y estrategias que operan en cinco proyectos artísticos participativos concretos, mecánicas con las que ir construyendo una caja de herramientas relacionales que poder utilizar en proyectos artísticos de manera sofisticada y en un equilibrio de fuerzas más acorde a cómo operan estas tecnologías sobre nosotras.Nowadays the concept of "technology" is identified in a naturalized way with hard-technologies (those coming from the knowledge of the physical and natural sciences that take on tangible aspects of reality), leaving aside soft-technologies (related to the human and social sciences, and that deal with more intangible aspects). Relational technologies would be inside the second ones, which are mechanics that structure our social relations. Getting to understand and use them in the art field in an empowered way, would facilitate that artistic creations generating more relevant interactions in society and that artists would contribute with visions and alternative ways of living inside the social magma of intangible powers we move in. This article defines soft-technologies, locates relational technologies inside them (with their three typologies: behavioural, communicational and organizational technologies), and extracts the mechanics and strategies that operate in five concrete participatory art projects, for getting to construct a tool-kit of relational tools feasible to use in artistic projects in a sophisticated way and in an equilibrium of forces more in accordance with how these technologies operate upon ourselves

An introduction to the impact of Bauhaus multi-disciplinary pedagogical model on its female students

The German school of the Bauhaus (1919-1933) had turned, in only fourteen years, into a pedagogic, investigative and artistic model. Their new improved pedagogical example is defined by the way in which their different academic programs were based on the multidisciplinary of the classical arts, which until then had been separately classified in painting, sculpture and architecture. The Bauhaus constructive ideal was at the service of society, hence, its pedagogical method was oriented towards the formation of professionals, so they would be able to master the knowledge that allowed them to design everyday objects, and to create an architecture style based on a single-family dwelling unit. In other to produce functional, cheap products that were full of spirituality, they based their programs on formal, plastic or aesthetic theories whose origin lies on the artistic thought. Society was changed due to their artistic creations.The artists that were educated in the Bauhaus changed the history of the modern design, imposing an educational model that opened the doors to the kind of multidisciplinary research that nowadays we still support in contemporary art centres. Accordingly, one of the Bauhaus' most affected sectors by the training and multidisciplinary research was the group of female students who were educated in this famous centre, being known today as artists of recognized international prestige. This group of students changed the society with their historical contributions about furniture, creation in lamps, textiles or household objects. Therefore, it brought out a significant number of artists as Marianne Brandt (1893-1983) in metal, Anni Albers (1899-1994) and her fabrics, Alma Buscher (1899-1944) with her toys, Wera Meyer-Waldeck (1906-1964) with her objects or Margarete Leischner (1907-1970) in textiles, among others

Research and creations between art-architecture to enhance the urban heritage through an educational process

En esta contribución se describe un proyecto de investigación-acción, cuyo resultado fue la produc-ción industrial de un kit (500 piezas) de interpretación del patrimonio cultural basado en la contaminación de diferentes disciplinas. El objeto de la investigación fueron los métodos de mediación e interpretación del patrimonio para activar un proceso de co-construcción con todas las partes involucradas. Los nuevos conocimientos obtenidos se convirtieron en el contenido del kit, para lograrlo fue necesario activar la cola-boración entre las disciplinas, los investigadores y los profesionales. A partir del cambio de paradigma de fruición del patrimonio que normalmente ve al objeto cultural como protagonista y a la comunidad como receptora, se mostrará que el diálogo interdisciplinar ha creado un círculo virtuoso entre la comunidad, el patrimonio y los nuevos receptores de esta acción. En particular, mostrará cómo ha habido un intercambio provechoso entre la educación corporal (expresión corporal), sonora, visual y la educación al patrimonio cultural y de los valores arquitectónicos y urbanísticos del Renacimiento.; This contribution describes an action research project, the result of which was the industrial production of a cultural heritage interpretation 500 kit based on the contamination of languages and disciplines. The object of the research was the methods of mediation and interpretation of heritage to activate a process of co-construction with all traceable stakeholders. The new traced knowledge became the contents of the kit, reaching which it was necessary to establish collaboration between disciplines, researchers and practitioners. Starting from the change in the paradigm of heritage fruition that generally sees the cultural object as a protagonist and the community as a recipient, it will be shown how interdisciplinary dialogue has created a virtuous circle between community, heritage and new recipients of fruitive action. In particular, it will show how there has been a profitable exchange between body, sound and vision education and education in cultural heritage and Renaissance urban architectural values

Exploring repetition in Chinese video art: through pleasure and laughter

This paper critically analyses the perceptive and emotional side of repetition in contemporary Chinese video art. Nowadays, that post-editing technology has become affordable for most of the artists in China, they are still engaging with repetition as a creative strategy. Nevertheless, as researchers are mostly focusing on the repetitive and almost empirical nature of the content of the 90s, this renewed tendency seems to have gone rather unnoticed. Through the analysis of 4 video artworks. This essay aims to be an attempt to serve as a starting point for further study in the field. For this purpose, the paper investigates how Kan Xuan’s and Cui Xiuwen’s aesthetic strategies can be linked to pleasure, exploring ideas related to both Zen and voyeurism. Moreover, it also evaluates Zhang Peili’s and Jiang Zhi’srepetitive procedures underlying a change of the original meaning that may result on a humorous reaction

The Industrial Network and the Role of the Professional Illustrator in Spain

La crisis de la industria editorial evidencia la precaria situación del ilustrador profesional en España, que no parece mejorar en los últimos años. Las posibilidades laborales se ven lastradas por la competencia a nivel internacional tras la aparición de internet, y la disminución de encargos, que son asumidos en su mayoría por profesionales con gran experiencia. Esta situación dificulta las posibilidades de acceder al mercado laboral, donde la ausencia de tablas de tarifas oficiales complica poder presupuestar trabajos a los menos experimentados. Contrastando con esta realidad, las industrias en auge de los videojuegos y del cine de animación demandan nuevos profesionales, pero la falta de profesionalización académica en la formación tradicional limita las posibilidades de encontrar trabajo por la falta de preparación, obligando a los futuros profesionales a depender de la formación autodidacta o a formarse en centros privados especializados, siendo estos económicamente menos accesibles; The crisis of the publishing industry shows the precarious situation of the professional illustrator in Spain, which does not seem to improve in recent years. Job opportunities are hindered by competition at the international level after the appearance of the Internet, and the decrease of commissions, which are mostly assumed by highly experienced professionals. This situation makes it difficult to access the labor market, where the absence of official rate charts makes it complicate to budget jobs for the less experienced ones. Contrasting with this reality, the booming industries of video games and animation movies demand new professionals, but the lack of academic professionalization in traditional training system limits the possibilities of finding work due to the lack of preparation, forcing future professionals to depend on self-taught education or training in specialized private centers, being these economically less accessible

Design for digital repositories: conceptualizing new communicative paradigms to filter and visualize scientific contents

[EN] This article aims to conceptualize a new communicative paradigm applied to academic scientific repositories. The publication and the querying of articles, papers, journals, books and other documents, are an integral part of the research process. However, the querying and information visualization process in a scientific academic repository, often proves to be inefficient, because the wide range of results hardly fits in the user¿s specific subject. In this sense, it is presented a brief analysis around major reference projects, which although based in the metric of article citations (impact factor), the primary goal lies in the visualization of an extensive citation structure and the relations established between the different scientific fields. Based on the modus operandi of these visualization interfaces, the main objective of this paper is to propose a new approach, where the filtering and the visualization of information is based in the user¿s experience instead of the usual citation "object" centered approach.[ES] El artículo propone un nuevo paradigma comunicactivo aplicado a repositorios científicos académicos. La publicación de artículos y consulta como revistas, libros y otros documentos, son una parte integral del proceso de investigación. La búsqueda de la información en repositorios académicos, a menudo resulta ser ineficiente debido a la amplia gama de resultados obtenidos. En este sentido, se realiza un estudio breve en torno a los principales proyectos de referencia, que a pesar de estar basados en un análisis de citas de artículos fijados en el factor de impacto, presentan como característica principal la visualización de patrones entorno a una amplia estructura de citaciones y relaciones entre las distintas áreas. A partir del mudus operandi de estas interfaces de visualización, el artículo plantea una nueva orientación fundada en la experiencia del usuario en lugar del habitual enfoque centrado en "objeto" de la citaciónAzevedo-Monteiro, BM.; Tortosa-Cuesta, R. (2016). Design for digital repositories: conceptualizing new communicative paradigms to filter and visualize scientific contents. AusArt. 4(1):237-250. doi:10.1387/ausart.16714S2372504

The fourth voice: the idea of the collective as an interlocutor

La construcción de la identidad del artista viene íntimamente ligada a la idea de práctica artística. En el estudio que presentamos a continuación, pretendemos identificar, dar visibilidad y cuestionar los discursos patriarcales (y neoliberales) que hoy en día siguen vigentes en las prácticas artísticas contemporáneas y que de manera indisociable repercuten en la construcción de nuestra subjetividad. Como agentes y participantes de esta investigación, se han analizado como caso de estudio las dinámicas organizativas y los obstáculos encontrados en el funcionamiento del colectivo Cràter, al que pertenecemos las autoras del texto y que fue fundado con la idea de construir un espacio protegido de reflexión y acción totalmente independiente de las dinámicas institucionales de la academia y las exigencias del tardocapitalismo. Cràter no solo es, sino que también se define, como un colectivo de mujeres, feministas, con vocación y formación artística, que busca nuevos modos de entender y hacer en arte, su investigación y su enseñanza.The construction of the artist’s identity becomes closely tied to the idea of artistic practice. In the following study, we aim to identify, to give visibility, and to question the patriarchal (and neoliberal) discourses that continue to be prevalent in contemporary art practices and that inevitably affect the construction of our subjectivity. As agents and participants in this research, we have analyzed as a case study the organizational dynamics and the obstacles we find in the functioning of the Cràter collective, to which the three authors of this text belong and that was founded with the idea of building a protected space for reflection and action, as one totally independent from the institutional dynamics of academia and the demands of late capitalism. Cràter is not just a collective formed by feminist women that have an artistic vocation and formation, but defines itself as such, looking for new ways of doing in the practice of art, research, and education

Tanztheater, Pina Bausch and the ongoing influence of her legacy

Pina Bausch y ThanztheaterWuppertal han sido fundamentales en la difusión internacional del Tanztheater/Danza-Teatro, como un nuevo e independiente genero de danza, con evidente y substancial impacto en el actual escenario de la danza contemporánea. Para remarcar dicha importancia, señalo en primer lugar, el recorrido de la danza contemporánea en Alemania, desde Rudolf Laban y el movimiento de danza expresiva alemana de los años 1920; hasta las creaciones de KurtJoos, y finalizo con la creación de TanztheaterWuppertal en 1973. A continuación, presento la vida y obra de Bausch, para revelar lo esencial y las características primordiales de su estilo. Concluyo con la notoria influencia ininterrumpida de su legado, señalando una de las piezas finalistas del concurso de coreógrafos The Place Prize, que tuvo lugar en Londres en el año2013.; Pina Bausch and the Tanztheater Wuppertal have been fundamental in the international establishment of Tanztheater as a new and independent dance genre, and their impact is evident and vibrant in the current contemporary dance scene. To support this statement I will first unfold the history of modern dance in Germany, from Rudolf Laban and the German expressive dance movement of the 1920’s, to the creations of Kurt Jooss and finally the formation of Tanztheater Wuppertal in 1973. I will then study Bausch’s life and work, and reveal the essential and unique characteristics of her style, to ultimately prove the ongoing influence of her legacy, looking at one of the final pieces of the 2013 London based choreographic competition The Place Prize

A critique of contemporary artificial intelligence art: Who is Edmond de Belamy?

Edmond de Belamy is a 2018 painting made by french collective Obvious, created using a type of Artificial Intelligence algorithms called Generative Adversarial Networks, which was sold at Christie's auction house in New York for $432,500. This historic event -the so-called auction of the "first artwork made by an AI" raises 3 interesting questions about authorship, originality, and the arts as a space for scientific inquiry. While some think that the current deployment of Machine Learning algorithms and Artificial Intelligence techniques that we are seeing in the art world today may be seen as the ultimate "Gesamtkunstwerk" or total artwork, other points of view express that not only we need this type of cultural artifacts as a critique of industrialized use of Artificial Intelligence, but also a strict criteria has to be delimited in order to review contemporary art made with Machine Learning techniques