Women in (Dis)placement: The Field of Studies on Migrations, Social Remittances, Care and Gender in Chile

This article presents current perspectives on the gender approach to the study of migration in Chile between 1990 and 2018, contextualizing it in light of international debates in the social sciences. We will discuss how the feminization and the growth of Latin American migrations have given rise to a prolific field of research, as exemplified by studies conducted in central and northern Chile. We will show how the concepts of social remittances and caregiving permeate the Chilean debate on migrant women. We conclude with reflections on topics and perspectives to be incorporated into the Chilean research agenda on gender and migration.Se presenta un estado del arte sobre el enfoque de género en los estudios de la migración en Chile entre 1990 y 2018, contextualizándolo a la luz de debates internacionales de las ciencias sociales. Abordaremos cómo la feminización y el incremento de las migraciones latinoamericanas inauguran un prolijo campo de investigaciones, articulado a través de estudios desarrollados en el centro y en el norte de Chile. Señalaremos cómo los conceptos de remesas sociales y cuidados permean el debate chileno sobre las mujeres migrantes. Finalizamos con reflexiones sobre temas y perspectivas a ser incorporados en la agenda chilena de investigaciones sobre género y migración.The authors would like to thank the Chilean National Commission for Scientific and Technological Research (CONICYT) for funding the study that led to this article through Fondecyt Regular Project number 1160683: “Ser Mujer Mayor en Santiago. Organización social de los cuidados, feminización del envejecimiento y desigualdades acumuladas” (“Being an older woman in Santiago. Social organization of care, feminization of ageing and accumulated inequalities”), led by Herminia Gonzálvez Torralbo and Fondecyt Regular Project number 1190056: “The Boundaries of Gender Violence: Migrant Women’s Experiences in South American Border Territories” led by Menara Lube Guizardi

Gestión del conocimiento. Perspectiva multidisciplinaria. Volumen 9

El libro “Gestión del Conocimiento. Perspectiva Multidisciplinaria”, volumen 9, de la Colección Unión Global, es resultado de investigaciones. Los capítulos del libro, son resultados de investigaciones desarrolladas por sus autores. El libro es una publicación internacional, seriada, continua, arbitrada de acceso abierto a todas las áreas del conocimiento, que cuenta con el esfuerzo de investigadores de varios países del mundo, orientada a contribuir con procesos de gestión del conocimiento científico, tecnológico y humanístico que consoliden la transformación del conocimiento en diferentes escenarios, tanto organizacionales como universitarios, para el desarrollo de habilidades cognitivas del quehacer diario. La gestión del conocimiento es un camino para consolidar una plataforma en las empresas públicas o privadas, entidades educativas, organizaciones no gubernamentales, ya sea generando políticas para todas las jerarquías o un modelo de gestión para la administración, donde es fundamental articular el conocimiento, los trabajadores, directivos, el espacio de trabajo, hacia la creación de ambientes propicios para el desarrollo integral de las instituciones

Form as Social Commitment: The art of Giovanni Anselmo during the Anni di Piombo

In April 1968, concurrent with the early stages of the student movement in Europe, the young Arte Povera artist Giovanni Anselmo installed his first solo exhibition at a Turin gallery. The sculptures shown there were not static objects, but rather demonstrations of invisible concepts like relativity. What emerged in Anselmo‘s first solo show and developed over the ensuing decade was a tactical resistance to the crystallization of his works into a single image or static object. This paper argues that this approach was also central to a critical understanding of the roles of the artist and the viewer during a time of great political foment in Italy and throughout Europe. I explore the relationship of Anselmo‘s sculptural interests to the currency of phenomenology in Northern Italy, the theorization of Arte Povera, in which he figures as a central protagonist, as well as to the socio-political challenges of the 1970s in Italy. Between 1967 and 1978, Anselmo endeavored to reveal tense fullness in empty spaces and to discover latent energy in seemingly inert materials by activating the viewer‘s ability to recognize them as small indications of a dynamic macrocosm. In the context of 1968 and the ensuing Anni di piombo, such macrocosmic glimpses might occasion a broadened worldview, in which the closed perceptual dialectic of self versus world could expand to include other, previously invisible, possibilities. From this expanded point of view prompted by Anselmo‘s presentation of energies, one can begin to understand, and even undermine, man-made ‗invisible‘ systems like government and class. By doing this through the form of the work rather than its explicit content, Anselmo models the notion of an artist using form as social commitment. This mode of working has resonance for many artists today, who may struggle with reconciling their material practices with political allegiances in an increasingly co-opted art market

Real Lies, True Fakes, and Supermodels

If we trust in photography’s transparency, in its ability to show us things as they really are, or were, why are most of us pretty certain that the photographs on the cover of the National Enquirer aren’t the real deal? Why do we trust some photographs, yet consciously suspend our disbelief when viewing others? Such is the paradoxical nature of our relationship to photography, because photographs communicate to us by two different means, denotation and connotation. Denotation is what provides the sense of "that has been"; a wallet-carried portrait of a child denotes a particular human being, because the light bouncing off of her body was recorded onto light-sensitive film. But what does such a photograph mean beyond "that [body] has been?" In short, it is the context of the photograph that guides our perception of what is recorded in the photograph

Target Practice : Painting Under Attack 1949-78

"The contemporary art world moves with such fervor and place that it is often difficult, even for those thoroughly immersed in it, to keep, while New trends pop up with increasing speed, while rankings of artist influence bob up and down constantly in response to what are deemed the pressing issue of our day. Such is a history that is still relatively new and has yet to thoroughly sort itself out with the passage of time and the accumulation of critical distances. Though consensus is still, forming, certain artists such as Lucio Fontana, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, and Andy Warhol have come to be regarded as immovable stalwarts of recent art history." -- p. [10]

Mimmo Rotella e il Surrealismo: i rimandi all’iconografia surrealista negli oggetti, nei frottages e negli éffaçages

Il volume è pubblicato in occasione del centenario della nascita di Mimmo Rotella, in concomitanza della più ampia mostra mai realizzata sull'artista. Ricco di contributi critici e di un vasto apparato iconografico, il volume ripercorre tutte le tappe della carriera dell'artista, nato a Catanzaro nel 1918: dalle prime opere astratte, alle esperienze informali degli anni '50, dalla relazione con il Nouveau Réalisme di Pierre Restany, alle tangenze con la Pop Art, al rapporto con l'America. Ampio approfondimento è dedicato alla sua ricerca più nota, quella intorno ai décollages e ai retro d'affiches, ma viene anche indagato il rapporto con città come New York, Roma, Parigi e Milano, con la critica d'arte e con gli artisti contemporanei. Completano il volume apparati biobibliografici. testi di: Clare Bell, Tobia Bezzola, Paola Bonani, Ester Coen, Vincenzo De Bellis, Veronica Locatelli, Lola Lorant, Elizabeth Mangini, Gianfranco Maraniello, Massimo Mininni, Luca Pietro Nicoletti, Massimo Romeri, Paul-Louis Roubert, Francesca Pola, Marta Sironi, Antonella Soldaini, Chiara Spangaro, Francesco Tedeschi, Giulia Tulino, Riccardo Ventur