Preprints
Title: Paper Bullets, the Cuban Cartel as a Weapon of Ideological Propaganda
Authorship:
José María Castro Madriz
Universidad de Costa Rica, Costa Rica
Contacto: josemaria.castro@ucr.ac.cr
ORCID ID: https://orcid.org/0000-0001-5562-4214
Abstract: This article is an approach to the study of the Cuban poster as an ideological tool within the cultural Cold War, where the revolutionary image evolves with the various stages of the Cuban revolutionary movement. From the 1950s to the so-called special period Cuban cartels have recurring themes such as the defense of national autonomy and peripheral armed conflicts between the socialist and capitalist blocs. As an introduction to the main theme, the work of well-known exponents of the political graphic movement and the propaganda function of OSPAAAL as a diffuser and ideological support to other revolutionary movements in Central America in the 1980s are analyzed.
DOI: https://doi.org/10.5281/zenodo.5081150
URL: https://zenodo.org/record/5081150#.YOYpN-hKiUk
Title: History, Art and Ink. Reflections on the Insertion of Tattoos in Contemporary Art
Authorship:
Tatiana Muñoz Brenes
Universidad de Costa Rica, Costa Rica
Contacto: tatiana.munozbrenes@ucr.ac.cr
ORCID ID: https://orcid.org/0000-0002-4367-8941
Abstract: More than a chronological journey through the history of tattoos, we intend to discover how some milestones in this history, still under construction, still not entirely clear, are full of contradictions, the use of power, social, political, and religious status, but always with an element of segregation, exclusion and distinction of individuals and groups, whether through voluntary and consensual brands, or not. On occasions, as we will see, this practice has been lived under a double standard or a double discourse that allows us to problematize –contrary to what the social stigma maintains– those tattoos are not just a sign of deviation. Later we will end with a discussion about the insertion of tattoos within the contemporary art landscape, based on categories extrapolated from the historical and "official" concept of Art.
DOI: https://doi.org/10.5281/zenodo.5123187
URL: https://zenodo.org/record/5123187#.YPnE-ehKiUk
Title: Quantas and Flow: geology of stage performance
Authorship:
Laurent Berger
Université Paul Valéry Montpellier, Francia
Contacto: bergerlaurent@gmail.com
ORCID ID: https://orcid.org/0000-0002-3352-6725
Abstract: Based on the observation of several contemporary theatrical rehearsal processes, part of an international research project, this article proposes to formulate several hypotheses on the construction of the performative dimension of the performance of a dramatic text, in this case Shakespeare. It insists on the need to question the paradigm of the character as the central axis of the acting work, to be interested in other phenomena, both continuous and discontinuous, less controllable, that awaken a more dynamic and unstable approach to the text. Using some analogies with modern physics, the article finally proposes some reflections that allow us to understand how the elements that govern live performance are constituted from an accumulation of interpretative layers, complementary and contradictory, revealed by the rehearsal process, and how the actor can circulate physically and mentally within these ambivalent layers to generate a type of performance that offers Shakespeare a theatrical modernity in accordance with its potential.
DOI: https://doi.org/10.5281/zenodo.5565525
URL: https://zenodo.org/record/5565525#.YWYa0BrMKUk
Title: Philip West: his way of understanding the world
Authorship:
María Dolores Villaverde Solar
Universidad de A Coruña, España
Contacto: doviso30@gmail.com
ORCID ID: https://orcid.org/0000-0003-1505-4960
Abstract: This text will approach a foundation-museum specialized in surrealism, -the Granell Foundation- and the British artist Philip West (York, 1949 - Zaragoza, 1997), who chose to follow the path of surrealism when other currents were triumphing, and Trying, through a selection of his oil paintings, to give a meaning to each element represented, in some pictorial works where they come together: game, life, death, dreams, mystery and whoever observes them always raises doubts of interpretation. To reach the author and his works, we will approach the surrealist avant-garde, its messages, images and artists, who completely transformed art. The artist Eugenio Fernández Granell was linked to Surrealism, to whom we owe the existence of the Foundation that bears his name, where the collection of Philip West, a close friend of Granell, is deposited.
DOI: https://doi.org/10.5281/zenodo.5573242
URL: https://zenodo.org/record/5573242#.YW3hBhrMKUk
Title: Aby Warburg in Joan Jonas's Natural World
Authorship:
Pablo Bonilla Elizondo
Universidad de Costa Rica, Costa Rica
Contacto: pablo.bonillaelizondo@ucr.ac.cr
ORCID ID: https://orcid.org/0000-0003-1906-4314
Abstract: This paper analyzes the links between the work of Joan Jonas and the thought of Aby Warburg. Which can be clearly identified in one of her latest performances: The Shape, the scents, the feel of things (2006), in which Warburg appears as the main character. However, this article reviews Jonas's previous work, finding in it a series of coherent signifiers, motifs and processes that allows us to understand the process of appropriation that places Warburg’s thought in the symbolic space traced by Jonas, between body and territory.
