“Del Expresionismo a la Revolución: fundamentos estéticos y políticos de la Räterepublik (1918-1919)”

Ana Rodríguez-Granell participates with the article “Del Expresionismo a la Revolución: fundamentos estéticos y políticos de la Räterepublik (1918-1919)” in Aisthesis nº 63.

This article aims to expose the links between the aesthetic ideas of German Romanticism and the political discourse of the Bavarian Revolution of November 1918. By examining the process of politicization of the expressionist movement, we will see how concepts originated from Nietzschean philosophy or romantic mysticism were incorporated into the philoanarchist thought of the Räterepublik, in order to paradoxically overcome utopian strata and bring to praxis their alternative left wing social project. Thus, we will try to insert the discourses of Kurt Eisner, Erich Müsahm or Gustav Landauer in the debate on the modern dialectic and the critic to enlightened reason.


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Irma Vilà moderates Creative Technologies Café panel

Visual artists, creators of graphic universes, interactive and immersive experiences designers, visualists… Their work defies labels and definitions. Some of the most in-demand visual artists of the moment talk about the inner workings of their pieces, unveil common (or divergent) processes and tools, and dig deep into the engines of nowadays artistic creation.

This session will be chaired by Irma Vilà and will feature visual artists Tom Scholefield (konx-om-pax), Nazare Soares, Pablo Valbuena and Sean Caruso.

Session information: CA / ES /EN


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“Alone in Paradise? History as a Way of Building a Debate and Learning Community in Collaborative Arts Practices”

Aida Sánchez de Serdio Martín publishes “Alone in Paradise? History as a Way of Building a Debate and Learning Community in Collaborative Arts Practices” (2018). E. Turney (ed.) Learning in Public. Transeuropean Collaborations in Socially Engaged Art. pp. 52 – 59. Dublin: Create and Live Art Development Agency. ISBN 978-0-9935611-7-7.


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Desbordar la institución. Producción de conocimiento y formación de artistas entre museo y universidad

In the framework of the collaboration between the Reina Sofía Museum (Madrid) and the Open University of Catalonia (UOC), to carry out a Art Degree, this meeting is organized by DARTS group and the Degree team in which various experts and protagonists of innovative pedagogical experiences will discuss the current challenges and possible Collaboration strategies between museums and universities for the production and transfer of knowledge. In particular, it will be analyzed how this relationship can contribute to the formation of artists in their multiple facets, taking into account how they hybridize and question their practical and theoretical dimensions, formal and non-formal, institutional and non-institutional, etc.


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Susanna Tesconi publishes her thesis.

Tesconi, S. (2018, June 5). El docente como maker. La formación del profesorado en making educativo. TDX (Tesis Doctorals en Xarxa). Universitat Autònoma de Barcelona.

This dissertation is aimed to design a learning environment in maker-centred education to foster in teachers the needed knowledge and attitudes in order to act as facilitator of creative processes in technology rich educational contexts. The learning environment has the goal of fostering the development of the teacher as experiential learning facilitator in creative technology rich environment, such as digital fabrication and rapid prototyping. With this goal in mind we design and implement a learning environment for teachers inspired in DIY philosophy and empowered by the tools, the knowledge and the infrastructure of the maker movement. In this way we want to take the emancipatory educational opportunities presented by the maker movement and transform the m in a teacher training model based on reflection in action, inquiry and collective knowledge creation. The research is grounded in Design-Based Research methodological framework, a flexible and systematic research method aimed to improve educational practices through iterative analysis of the design process of educational program and their implementation. DBR is based on the collaboration between practitioners and researchers. It acts directly in the real context of the teaching-learning practice and allow the definition of design principles for the design of similar environment for other contexts. Through 3 design cycles we define and implement the environment and we collect data. Data are used, from one hand, for the adaptation of the design during its implementation and , for the other, to analyze and understand the nature of the critical issues who arise. The analysis of the critical issues and their relation with the design decision allow us to define design principles for future design. Once the design process is over we analyze the data gathered during the all process and we realize interview with a selected group of stakeholders in order to get a better understanding of the professional growth they perceived.

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“Pedadgogies of Encounter. Introduction”

Aida Sánchez de Serdio Martín publishes “Pedadgogies of Encounter. Introduction” and “Archiving and Collecting Relationships. Introduction” (2018) in John Byrne; Elinor Morgan; November Paynter; Aida Sánchez de Serdio Martín; Adela Zeleznik. The constituent museum. Constellations of Knowledge, Politics and mediation. pp. 154-157 & 292-295, Amsterdam: Valiz y L’Internationale, 2018. ISBN 978-94-92095-42-8.


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Conference: “Curating New Media Art: a blue-collar approach to working with process-based, interactive and immaterial artworks”

Pau Waelder gives the talk “Curating New Media Art: a blue-collar approach to working with process-based, interactive and immaterial artworks” at Haus der elektronischen Künste (HeK), Basilea, on May 4, 2018.

The Spanish curator and scientist Pau Waelder, one of the most important theoreticians of the new media, will give a talk titled “Curating New Media Art: a blue-collar approach to working with process-based, interactive and immaterial artworks” at HeK.

Drawing on his professional experience as curator and researcher specializing in new media art, Pau Waelder addresses several aspects of curating artworks that need to be plugged, configured, and maintained, require the active participation of the viewer, or can materialize in diverse forms. The talk, organized in cooperation with the Postgraduate Programme in Curating MAS/ CAS of the Zürcher Hochschule der Künste ZHdK, will focus on the practical aspects of curating new media art and discuss a series of artistic projects and exhibitions.



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“Memory Lane”, a text for the exhibition of the same title by the artist Felix Luque

Pau Waelder publishes “Memory Lane“, a text for the exposition of the same title by the artist Felix Luque at the Espacio Fundación Telefónica (Lima, Perú)

Memory Lane starts from an exploration of childhood and youth memories of Félix Luque and Íñigo Bilbao on the coasts of Ribadesella and Llanes (Asturias), which translates into a digitalization of forests, beaches and rocks using 3D scanning technologies. Through digital devices they obtain an enormously detailed reproduction of those places and at the same time a ghostly, distant and incomplete image, which gradually becomes a fiction. Together with Damien Gernay, the three artists elaborate a particular imitation of nature, in which it is simultaneously captured with the greatest precision allowed by current technology and converted into something consciously artificial.

The sculptural work and the physical presence of the pieces acquire a particular importance, since they show us how artists, by converting nature into data, have been able to recreate it according to their own parameters. 3D modeling software, numerically controlled CNC (CNC) milling machines and the robotic and electronic systems they have built give them the ability to create an entirely different reality.

As a whole, the pieces that are part of this project elaborate a fiction with consciously implausible elements that start from real places, with a deep meaning for artists, but they are abstracted to the point of configuring a parallel reality, with a language and a specific behaviors, which no longer belong as much to the humans who have imagined them as to the machines that have shaped them.



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Conference: “Contemporary art and new media in Spain: post-crisis, post-photography, post-Internet”

Pau Waelder gives the talkContemporary art and new media in Spain: post-crisis, post-photography, post-Internet” at the Finnish Museum of Photography, Helsinki.

A talk with art critic, curator and researcher Pau Waelder, hosted by Elina Heikka, Director of The Finnish Museum of Photography.

Drawing connections from several articles and book chapters written for contemporary art magazines and cultural institutions, the author explores the current situation of contemporary art and new media in Spain. This talk will focus on the presence of new media art in museums, art centers, and the art market, the changes introduced by digital technologies in the status of the image (leading to the concept of “post-photography”) and the wide-ranging influence of Internet culture in the work of a young generation of Spanish artists. Against the backdrop of the growing presence of new media art in the international contemporary art scene, this case study aims to examine a particular context in which the cultural landscape has been affected by the financial crisis and the changing institutional policies, while artists have sought ways to keep producing artworks and participate in the current debates on art, technology and society, within or beyond the geographical constraints of their country of origin.

This presentation will be followed by a screening of video documentation from selected artistic projects by contemporary Spanish artists.

Pau Waelder has been invited to Helsinki by Artists Association MUU.

With the support of Acción Cultural Española (AC/E).


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