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"Creating commons for a broken world"
Estéticas del procomún en prácticas artísticas posdigitales
Data | Value |
---|---|
Autor | Gozalo López, Martina |
Título | "Creating commons for a broken world" : estéticas del procomún en prácticas artísticas posdigitales / Martina Gozalo López. |
Titulo traducido | Creating commons for a broken world : Aesthetics of the commons in posdigital artistic practices |
Descripción física | 1 archivo electrónico (formato pdf, 83 p.) : il. |
Idioma | Español |
Serie | Máster universitario en Historia del Arte Contemporáneo y Cultura Visual |
Notas | Máster universitario en Historia del Arte Contemporáneo y Cultura Visual impartido en el Centro de Estudios del Museo Reina Sofía en colaboración con la Universidad Autónoma de Madrid (UAM) y la Universidad Complutense de Madrid (UCM). Curso 2021-2022 Trabajo Fin de Máster presentado en septiembre del 2022. |
Créditos | Director de tesis: Noemí de Haro García. |
Resumen | Resumen facilitado por el autor: "The goal of this MA thesis is to consider the emancipatory possibility of the post-digital artistic practices through the "aesthetics of the commons". In order to do this, the research project Creating Commons (2017-2020) will be analyzed as a case study. This will serve as the starting point to develop the definition of "commoning", and to identify the conceptual and theoretical tools it offers which are useful to reflect on the posdigital artistic... Más Resumen facilitado por el autor: "The goal of this MA thesis is to consider the emancipatory possibility of the post-digital artistic practices through the "aesthetics of the commons". In order to do this, the research project Creating Commons (2017-2020) will be analyzed as a case study. This will serve as the starting point to develop the definition of "commoning", and to identify the conceptual and theoretical tools it offers which are useful to reflect on the posdigital artistic practices that are part of the mentioned research project. Firstly, the definition of the term "commoning" is introduced; secondly, a context to introduce the meaning of "posdigital" and the implications of the "net society" in its artistic dimension is created. In order to effectively analyze the aesthetics of the commons certain topics are discussed, which are related to the political dimension of art and the capacity of agency of the individuals within an eminently informational and communicational context. Finally, the instituting and autonomous capacity of these post-digital practices is tested —which are developed in a political, critical and activist manner— through the "organizational aesthetics" of Olga Goriunova and the "modal aesthetics" of Jordi Claramonte. " Resumen facilitado por el autor: "Sergio Larraín (1931-2012) is considered the most successful photographer in Chilean history because of his work at Magnum during the 1960s. His work was published in prestigious magazines of the time, such as LIFE and Paris Match. This narrative, spread in the Chilean media since his death, is affected by his personal story, specially his eccentric lifestyle, which led him to leave his life in the capital, Santiago, to settle with his son in a rural community in the mountains in the north of Chile. On the tenth anniversary of the artist death, this research addresses the years that could be considered intermediate in Larraín's career: from his departure from Magnum to the rediscovery of his work in Europe during the 1990s. From a theoretical and methodological point of view, this TFM seeks to challenge the concepts of photojournalism, documentary photography and author photography through the analysis of the contradictions and intersections of disciplines that Sergio Larraín's work presents. In addition, the investigation shows a biographical review of Larraíns' life: from his youth to his retirement stage, to understand the spirit of his work and his ambivalence and contradictions." Menos |
Género | Tesis |
Formato | Impresos y manuscritos |
ID/Nº registro | C00262980c |
ID del Proyecto | DG_54 |
Signatura | SERVIDOR |
Colección digital | Máster Universitario en Historia del Arte Contemporáneo y Cultura Visual > Curso 2021-2022 |
Copyright: © Martina Gozalo López