Papers by Maria Eugenia Garcia-Sottile
AusArt Journal for Research in Art. 8 (2), 2020
This contribution describes an action research project, the result of which was the industrial pr... more 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. Keywords: HERITAGE EDUCATION; RESEARCH AND CREATIONS BETWEEN ART-ARCHITECTURE investigaciones y cReaciones compaRtidas entRe aRte-aRquitectuRa paRa mejoRaR el patRimonio cultuRal uRbano a tRavés de un pRoceso educativo Resumen 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 Palabras clave: EDUCACIÓN SOBRE EL PATRIMONIO; INVESTIGACIÓN Y CREA-CIONES ENTRE ARQUITECTURA DE ARTE de nicola, alessandra, maría eugenia garcia sotile & sebastián gómez lozano. 2020. "Research and creations between art-architecture to enhance the urban heritage through an educational process". AusArt 8 (2): 25-37.
Disegnarecon, 2019
This article examines the choreographic installation Retranslation I Final Unfinished Portrait (F... more This article examines the choreographic installation Retranslation I Final Unfinished Portrait (Francis Bacon), by William Forsythe and Peter Welz in 2006 with the aim of highlighting that drawing as experience that makes possible to achieve multiple forms of representation: dance and choreography, painting and drawing, video and movement image. The installation will be approached as a case study for an educational reading aimed at giving visibility to the gesture as a mediation tool between drawing and the experience to open access to cultural heritage. At the parallel it will be shown how drawing is a fundamental component of the choreographic creative process and a link that permit to create aesthetic discourses between artistic languages.
It is an interaction between three different disciplines and objects: the pictorial work Final Unfinished Portrait by Francis Bacon, the choreographic and performative intervention by William Forsythe and the digital dimension through which Peter Welz presents bodies in space.
A further element of interest is that it is a site-specific action within museum environment. At first this choreographic installation was conceived to be part of the exhibition Corps étrangers. danse, dessin, film specially designed to be exhibited in the galleries dedicated to antique statuary of Musée du Louvre, subsequently became an itinerant and autonomous exhibition.
Furthermore, this production in which visual representation is one of the levels to support greater access and knowledge regeneration, is widely accepted by the scientific community.
http://disegnarecon.univaq.it/ojs/index.php/disegnarecon/article/view/628
Disegnarecon, 2019
The drawing of choreographers as performances in museum space. Ideas and excuses for heritage edu... more The drawing of choreographers as performances in museum space. Ideas and excuses for heritage education.
Alessandra De Nicola, Maria Eugenia Garcia Sottile, Sebastián Gómez Lozano
Abstract
This article examines the choreographic installation Retranslation I Final Unfinished Portrait (Francis Bacon), by William Forsythe and Peter Welz in 2006 with the aim of highlighting that drawing as experience that makes possible to achieve multiple forms of representation: dance and choreography, painting and drawing, video and movement image. The installation will be approached as a case study for an educational reading aimed at giving visibility to the gesture as a mediation tool between drawing and the experience to open access to cultural heritage. At the parallel it will be shown how drawing is a fundamental component of the choreographic creative process and a link that permit to create aesthetic discourses between artistic languages.
It is an interaction between three different disciplines and objects: the pictorial work Final Unfinished Portrait by Francis Bacon, the choreographic and performative intervention by William Forsythe and the digital dimension through which Peter Welz presents bodies in space.
A further element of interest is that it is a site-specific action within museum environment. At first this choreographic installation was conceived to be part of the exhibition Corps étrangers. danse, dessin, film specially designed to be exhibited in the galleries dedicated to antique statuary of Musée du Louvre, subsequently became an itinerant and autonomous exhibition.
Furthermore, this production in which visual representation is one of the levels to support greater access and knowledge regeneration, is widely accepted by the scientific community.
Keywords
heritage education; drawing; choreography; learning space
El punto de partida para esta reflexión es “La razón plástica” - una
intervención urbana de Joaqu... more El punto de partida para esta reflexión es “La razón plástica” - una
intervención urbana de Joaquín Jara - que actualmente se mezcla en el tejido de las calles de Barcelona. A partir de ello queremos abrir diálogos entre los conceptos que se aglutinan alrededor de la percepción de la ciudad.
Palabras clave:
intervenciones urbanas, mapa, percepción, espacio común
Publicado en : García Puchades, W.; Miquel, M.; (2016). La cultura de lo común: prácticas colectivas del siglo XXI.
Valencia: Universitat Politècnica de València
ÍNDICE Presentación María Emilia Tijoux 7 LOS ESFUERZOS DE LA POLÍTICA Y LAS RESISTENCIAS DEL CUE... more ÍNDICE Presentación María Emilia Tijoux 7 LOS ESFUERZOS DE LA POLÍTICA Y LAS RESISTENCIAS DEL CUERPO 13 Fragmentos sobre el (olvido del) cuerpo en la historia de Chile Gustavo Bustos Gajardo 15 Dolor y tortura: la fracturación de sí David Le Breton 39 El cuerpo des-encarnado. Apuntes para una teoría de la infancia como resistencia Mauricio Amar Díaz 59 Los cuerpos castigados del Cuartel Terranova, Chile (1974-1978) Kerly Fuentes Mucherl y Josefi na Correa Téllez 77 EL VESTIDO DEL CUERPO Y LOS RECORTES DE UNA PERFECCIÓN 93 Cuerpos perfectos. Sociología de la construcción corporal en Reinas de Belleza y Físico-culturistas Francisco Javier Cortazar Rodríguez 95 Desnudamiento, libertad y control: el cuerpo brasilero entre la dádiva y el bisturí Débora Krischke Leitão 115 Educación Física Ricardo Crisorio 139 LOS SABERES TECNOLÓGICOS DE CUERPOS PARA LA PRODUCCIÓN 159 Devenir cuerpo empresa: el nuevo capitalismo y sus tramas de sujeción Pierre Legendre 161 Actuel Marx 9.indd 5 21-06-2010 16:36:15 Cuerpos. Producción/Construcción-Desmantelamiento/ Ensamblaje Augusto Obando Cid 183 Visiones del cuerpo tecnológico Maria Eugenia García Sottile 197 Aportes para un debate actual: arte, cuerpo y lenguaje Carolina Escudero 211 LOS CUERPOS BORRADOS POR LA CIUDAD 235 La ciudad sitiada: una refl exión sobre imágenes que expresan el carácter neo-colonial de la ciudad (Córdoba, 2010) Adrián Scribano y María Eugenia Boito 237 Performatividad, fantasmas y fantasías sociales. El "encantamiento" de la (re)nominación en la gestión del hábitat social en la ciudad de Córdoba Ana Lucía Cervio 259 HOMENAJE A DANIEL BENSAÏD 283 ENTREVISTA 289 A propósito de Walter Benjamin María Emilia Tijoux 291 RESEÑA 301 Lugar común. El motel americano, de Bruce Bégout Patricio Mena Malet 303 Llamado para la Revista Actuel Marx Intervenciones N° 10 Bicentenario[s]… 309 Actuel Marx 9.indd 6 21-06-2010 16:36:15 Cuerpos. Producción/Construcción-Desmantelamiento/ Ensamblaje Augusto Obando Cid 183 Visiones del cuerpo tecnológico Maria Eugenia García Sottile 197 Aportes para un debate actual: arte, cuerpo y lenguaje Carolina Escudero 211 LOS CUERPOS BORRADOS POR LA CIUDAD 235 La ciudad sitiada: una refl exión sobre imágenes que expresan el carácter neo-colonial de la ciudad (Córdoba, 2010) Adrián Scribano y María Eugenia Boito 237 Performatividad, fantasmas y fantasías sociales. El "encantamiento" de la (re)nominación en la gestión del hábitat social en la ciudad de Córdoba Ana Lucía Cervio 259 HOMENAJE A DANIEL BENSAÏD 283 ENTREVISTA 289 A propósito de Walter Benjamin María Emilia Tijoux 291 RESEÑA 301 Lugar común. El motel americano, de Bruce Bégout Patricio Mena Malet 303 Llamado para la Revista Actuel Marx Intervenciones N° 10 Bicentenario[s]… 309 Actuel Marx 9.indd 6 No fi nite division can be drawn between the environment, the body and the brain. The human is identifi able, but not defi nable. Post-human Manifesto NOI PROCLAMIAMO(…) Che il moto e la luce distruggono la materialità dei corpi Manifesto dei Pittori Futuristi Resumen Cuerpo y tecnología son dos conceptos complejos que han establecido relaciones complejas a lo largo de la historia. Pero la aceleración de los procesos tecnológicos de nuestro tiempo enfrentan al cuerpo con una inquietud ineludible sobre sus propios límites. Palabras Claves: Cuerpo. Tecnología. Percepción. Virtualidad. Hibridación.
Books and Art Catalogues by Maria Eugenia Garcia-Sottile
Catálogo exposición La Playa 012 de Vicente Talens , 2012
CATÁLOGO EXPOSICIÓN
LA PLAYA 012 - VICENTE TALENS -
Aula de Artes Plásticas
Vicerrectorado de E... more CATÁLOGO EXPOSICIÓN
LA PLAYA 012 - VICENTE TALENS -
Aula de Artes Plásticas
Vicerrectorado de Extensión Universitaria y Administración Electrónica
Cartografías Sensibles. Notas conceptuales del proyecto.
La cartografía y la notación coreográf... more Cartografías Sensibles. Notas conceptuales del proyecto.
La cartografía y la notación coreográfica mantienen una relación muy antigua, aun etimológica. Son dos lenguajes que se han cruzado de formas muy diversas a lo largo de la historia del arte y en nuestro proyecto los abordamos a través de una constelación en la que se articulan enfoques provenientes del pensamiento contemporáneo sobre paisajes, movimiento, espacio compartido y ecologías.
Cartografías Sensibles se desarrolla en tres espacios: el Jardín Botánico de la Universidad de Valencia, la Huerta de Castellar L’ Oliveral y un área dinámica y múltiple compuesta por los recorridos posibles que unen huerta y jardín.
Los tres lugares son entendidos tanto desde su dimensión física como desde su dimensión conceptual.
A partir de ellos se plantean acciones de reflexión, investigación, intervención artística y propuestas educativas en relación a los siguientes ejes:
Cultivo - cultura - naturaleza.
La percepción de lo considerado natural en el espacio urbano.
La diversidad de ecosistemas en el espacio urbano.
Gesto - forma - transmisión del gesto.
La construcción del gesto - la construcción del espacio.
Las calidades de movimiento en la conformación y el uso de los espacios comunes.
Conference Presentations by Maria Eugenia Garcia-Sottile
Prague – Heritages Past and Present - Built and Social, 2024
This study is part of the funded research project "Humanizing the Neanderthal" (R+D+i, 2022-233-U... more This study is part of the funded research project "Humanizing the Neanderthal" (R+D+i, 2022-233-UCV) of the GIEPAFS group. Universidad Católica de Valencia San Vicente Mártir.
Every morning, the Neanderthal Museum in Mettmann is filled with children and teenagers activating the exhibition spaces, accessing a constantly updated vision of human evolution, through multisensory
experiences. We can consider it as an expanded installation, projecting beyond the walls into the Neanderthal Valley. From this physical and historical site, the Museum creates its narrative and opens
itself up to reflection on shared spaces.
The exhibition does not focus on archaeological heritage, but on intangible heritage and audience interaction. It invites the visitor to relate the knowledge of the past to current issues such as migration,
climate change, technology, gender roles, living together and the care of ecosystems. To this end, the museographic and curatorial proposal is based on the idea that, according to current scientific knowledge, the traditional image of the human family tree is now more like a river with many branches and new arms, a tide of humanity (Menschenstrom). This concept functions as a ritornello that underpins the nterconnection between architecture, exhibition design, storytelling, and different
visual supports.
Sculptures made by paleoartists with a scientific background have a prominent place in the exhibition, giving body and voice to information that would otherwise be complex and dry for the viewer. These characters that we find in the Neanderthal Museum lead us through a choreography of discoveries where we encounter familiar stories and faces.
IMG2021 IMAGE LEARNING Book of abstracts, 2021
IMG2021 IMAGE LEARNING book of abstracts
By analyzing contemporary dance choreography, this course aims to think about the body in a new w... more By analyzing contemporary dance choreography, this course aims to think about the body in a new way emerging from the relationship between perception and technology. Focusing on this Corpographies: Perception, Presence and Technologies for the Contemporay European Scene.
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Papers by Maria Eugenia Garcia-Sottile
It is an interaction between three different disciplines and objects: the pictorial work Final Unfinished Portrait by Francis Bacon, the choreographic and performative intervention by William Forsythe and the digital dimension through which Peter Welz presents bodies in space.
A further element of interest is that it is a site-specific action within museum environment. At first this choreographic installation was conceived to be part of the exhibition Corps étrangers. danse, dessin, film specially designed to be exhibited in the galleries dedicated to antique statuary of Musée du Louvre, subsequently became an itinerant and autonomous exhibition.
Furthermore, this production in which visual representation is one of the levels to support greater access and knowledge regeneration, is widely accepted by the scientific community.
http://disegnarecon.univaq.it/ojs/index.php/disegnarecon/article/view/628
Alessandra De Nicola, Maria Eugenia Garcia Sottile, Sebastián Gómez Lozano
Abstract
This article examines the choreographic installation Retranslation I Final Unfinished Portrait (Francis Bacon), by William Forsythe and Peter Welz in 2006 with the aim of highlighting that drawing as experience that makes possible to achieve multiple forms of representation: dance and choreography, painting and drawing, video and movement image. The installation will be approached as a case study for an educational reading aimed at giving visibility to the gesture as a mediation tool between drawing and the experience to open access to cultural heritage. At the parallel it will be shown how drawing is a fundamental component of the choreographic creative process and a link that permit to create aesthetic discourses between artistic languages.
It is an interaction between three different disciplines and objects: the pictorial work Final Unfinished Portrait by Francis Bacon, the choreographic and performative intervention by William Forsythe and the digital dimension through which Peter Welz presents bodies in space.
A further element of interest is that it is a site-specific action within museum environment. At first this choreographic installation was conceived to be part of the exhibition Corps étrangers. danse, dessin, film specially designed to be exhibited in the galleries dedicated to antique statuary of Musée du Louvre, subsequently became an itinerant and autonomous exhibition.
Furthermore, this production in which visual representation is one of the levels to support greater access and knowledge regeneration, is widely accepted by the scientific community.
Keywords
heritage education; drawing; choreography; learning space
intervención urbana de Joaquín Jara - que actualmente se mezcla en el tejido de las calles de Barcelona. A partir de ello queremos abrir diálogos entre los conceptos que se aglutinan alrededor de la percepción de la ciudad.
Palabras clave:
intervenciones urbanas, mapa, percepción, espacio común
Publicado en : García Puchades, W.; Miquel, M.; (2016). La cultura de lo común: prácticas colectivas del siglo XXI.
Valencia: Universitat Politècnica de València
Books and Art Catalogues by Maria Eugenia Garcia-Sottile
LA PLAYA 012 - VICENTE TALENS -
Aula de Artes Plásticas
Vicerrectorado de Extensión Universitaria y Administración Electrónica
"Cartografiar conceptos, movimientos e imágenes valíendonos de las huellas que dejan los gestos y los espacios que estos producen"
Cartografías Sensibles se desarrolla en trés ámbitos:
- el Jardín Botánico de la Universidad de Valencia
- la Huerta de Castllar - L'Oliveral
- los Recorridos y derivas - físicos y conceptuales - que unen Huerta y Jardín.
Concepto y Gestión curatorial: Eugenia García Sottile
http://cartografiassensibles.blogspot.com
Artistas:
- Rosa Rodríguez
http://www.rosarodriguez.es/cartografas-sensibles
- Joaquín Jara
http://www.joaquinjara.net/w88/sensitive-cartographies/quercus-cerris-l-threshold?lang=es
La cartografía y la notación coreográfica mantienen una relación muy antigua, aun etimológica. Son dos lenguajes que se han cruzado de formas muy diversas a lo largo de la historia del arte y en nuestro proyecto los abordamos a través de una constelación en la que se articulan enfoques provenientes del pensamiento contemporáneo sobre paisajes, movimiento, espacio compartido y ecologías.
Cartografías Sensibles se desarrolla en tres espacios: el Jardín Botánico de la Universidad de Valencia, la Huerta de Castellar L’ Oliveral y un área dinámica y múltiple compuesta por los recorridos posibles que unen huerta y jardín.
Los tres lugares son entendidos tanto desde su dimensión física como desde su dimensión conceptual.
A partir de ellos se plantean acciones de reflexión, investigación, intervención artística y propuestas educativas en relación a los siguientes ejes:
Cultivo - cultura - naturaleza.
La percepción de lo considerado natural en el espacio urbano.
La diversidad de ecosistemas en el espacio urbano.
Gesto - forma - transmisión del gesto.
La construcción del gesto - la construcción del espacio.
Las calidades de movimiento en la conformación y el uso de los espacios comunes.
Denia. Sala de la Estación 2011
También puede verse como libro electrónico en :
http://issuu.com/artneverpays/docs/catalogo_crimen_011/31
Conference Presentations by Maria Eugenia Garcia-Sottile
Every morning, the Neanderthal Museum in Mettmann is filled with children and teenagers activating the exhibition spaces, accessing a constantly updated vision of human evolution, through multisensory
experiences. We can consider it as an expanded installation, projecting beyond the walls into the Neanderthal Valley. From this physical and historical site, the Museum creates its narrative and opens
itself up to reflection on shared spaces.
The exhibition does not focus on archaeological heritage, but on intangible heritage and audience interaction. It invites the visitor to relate the knowledge of the past to current issues such as migration,
climate change, technology, gender roles, living together and the care of ecosystems. To this end, the museographic and curatorial proposal is based on the idea that, according to current scientific knowledge, the traditional image of the human family tree is now more like a river with many branches and new arms, a tide of humanity (Menschenstrom). This concept functions as a ritornello that underpins the nterconnection between architecture, exhibition design, storytelling, and different
visual supports.
Sculptures made by paleoartists with a scientific background have a prominent place in the exhibition, giving body and voice to information that would otherwise be complex and dry for the viewer. These characters that we find in the Neanderthal Museum lead us through a choreography of discoveries where we encounter familiar stories and faces.
It is an interaction between three different disciplines and objects: the pictorial work Final Unfinished Portrait by Francis Bacon, the choreographic and performative intervention by William Forsythe and the digital dimension through which Peter Welz presents bodies in space.
A further element of interest is that it is a site-specific action within museum environment. At first this choreographic installation was conceived to be part of the exhibition Corps étrangers. danse, dessin, film specially designed to be exhibited in the galleries dedicated to antique statuary of Musée du Louvre, subsequently became an itinerant and autonomous exhibition.
Furthermore, this production in which visual representation is one of the levels to support greater access and knowledge regeneration, is widely accepted by the scientific community.
http://disegnarecon.univaq.it/ojs/index.php/disegnarecon/article/view/628
Alessandra De Nicola, Maria Eugenia Garcia Sottile, Sebastián Gómez Lozano
Abstract
This article examines the choreographic installation Retranslation I Final Unfinished Portrait (Francis Bacon), by William Forsythe and Peter Welz in 2006 with the aim of highlighting that drawing as experience that makes possible to achieve multiple forms of representation: dance and choreography, painting and drawing, video and movement image. The installation will be approached as a case study for an educational reading aimed at giving visibility to the gesture as a mediation tool between drawing and the experience to open access to cultural heritage. At the parallel it will be shown how drawing is a fundamental component of the choreographic creative process and a link that permit to create aesthetic discourses between artistic languages.
It is an interaction between three different disciplines and objects: the pictorial work Final Unfinished Portrait by Francis Bacon, the choreographic and performative intervention by William Forsythe and the digital dimension through which Peter Welz presents bodies in space.
A further element of interest is that it is a site-specific action within museum environment. At first this choreographic installation was conceived to be part of the exhibition Corps étrangers. danse, dessin, film specially designed to be exhibited in the galleries dedicated to antique statuary of Musée du Louvre, subsequently became an itinerant and autonomous exhibition.
Furthermore, this production in which visual representation is one of the levels to support greater access and knowledge regeneration, is widely accepted by the scientific community.
Keywords
heritage education; drawing; choreography; learning space
intervención urbana de Joaquín Jara - que actualmente se mezcla en el tejido de las calles de Barcelona. A partir de ello queremos abrir diálogos entre los conceptos que se aglutinan alrededor de la percepción de la ciudad.
Palabras clave:
intervenciones urbanas, mapa, percepción, espacio común
Publicado en : García Puchades, W.; Miquel, M.; (2016). La cultura de lo común: prácticas colectivas del siglo XXI.
Valencia: Universitat Politècnica de València
LA PLAYA 012 - VICENTE TALENS -
Aula de Artes Plásticas
Vicerrectorado de Extensión Universitaria y Administración Electrónica
"Cartografiar conceptos, movimientos e imágenes valíendonos de las huellas que dejan los gestos y los espacios que estos producen"
Cartografías Sensibles se desarrolla en trés ámbitos:
- el Jardín Botánico de la Universidad de Valencia
- la Huerta de Castllar - L'Oliveral
- los Recorridos y derivas - físicos y conceptuales - que unen Huerta y Jardín.
Concepto y Gestión curatorial: Eugenia García Sottile
http://cartografiassensibles.blogspot.com
Artistas:
- Rosa Rodríguez
http://www.rosarodriguez.es/cartografas-sensibles
- Joaquín Jara
http://www.joaquinjara.net/w88/sensitive-cartographies/quercus-cerris-l-threshold?lang=es
La cartografía y la notación coreográfica mantienen una relación muy antigua, aun etimológica. Son dos lenguajes que se han cruzado de formas muy diversas a lo largo de la historia del arte y en nuestro proyecto los abordamos a través de una constelación en la que se articulan enfoques provenientes del pensamiento contemporáneo sobre paisajes, movimiento, espacio compartido y ecologías.
Cartografías Sensibles se desarrolla en tres espacios: el Jardín Botánico de la Universidad de Valencia, la Huerta de Castellar L’ Oliveral y un área dinámica y múltiple compuesta por los recorridos posibles que unen huerta y jardín.
Los tres lugares son entendidos tanto desde su dimensión física como desde su dimensión conceptual.
A partir de ellos se plantean acciones de reflexión, investigación, intervención artística y propuestas educativas en relación a los siguientes ejes:
Cultivo - cultura - naturaleza.
La percepción de lo considerado natural en el espacio urbano.
La diversidad de ecosistemas en el espacio urbano.
Gesto - forma - transmisión del gesto.
La construcción del gesto - la construcción del espacio.
Las calidades de movimiento en la conformación y el uso de los espacios comunes.
Denia. Sala de la Estación 2011
También puede verse como libro electrónico en :
http://issuu.com/artneverpays/docs/catalogo_crimen_011/31
Every morning, the Neanderthal Museum in Mettmann is filled with children and teenagers activating the exhibition spaces, accessing a constantly updated vision of human evolution, through multisensory
experiences. We can consider it as an expanded installation, projecting beyond the walls into the Neanderthal Valley. From this physical and historical site, the Museum creates its narrative and opens
itself up to reflection on shared spaces.
The exhibition does not focus on archaeological heritage, but on intangible heritage and audience interaction. It invites the visitor to relate the knowledge of the past to current issues such as migration,
climate change, technology, gender roles, living together and the care of ecosystems. To this end, the museographic and curatorial proposal is based on the idea that, according to current scientific knowledge, the traditional image of the human family tree is now more like a river with many branches and new arms, a tide of humanity (Menschenstrom). This concept functions as a ritornello that underpins the nterconnection between architecture, exhibition design, storytelling, and different
visual supports.
Sculptures made by paleoartists with a scientific background have a prominent place in the exhibition, giving body and voice to information that would otherwise be complex and dry for the viewer. These characters that we find in the Neanderthal Museum lead us through a choreography of discoveries where we encounter familiar stories and faces.
Universidad Internacional Menédez Pelayo
Valencia, del 15 al 17 de octubre de 2014
Y desde las diferentes contextualizaciones revisitar su relación con los modos de investigar que abordan la creación,la critica y la historización de los procesos performáticos.
TAORMINA. Coniugare il paesaggio con l’educazione, la geologia con l’arte, la dimensione museale e culturale conquella naturale e sociale. Sono gli obiettivi del workshop dal titolo “Orto di Mare” organizzato dal centro di ricerca Cutgana dell’Università di Catania in programma giovedì 19 ottobre, dalle 8,30, lungo la spiaggia della Riserva naturale orientata “Isola Bella” con oltre 100 studenti dell’Istituto statale d’istruzione superiore “Fermi - Guttuso”di Giarre, diretto da Tiziana D’Anna, protagonisti della performance artistica.
L’iniziativa è promossa nell’ambito della prima edizione “Giornata Mondiale dell’Educazione Ambientale ” e dellaquinta edizione “ Settimana del Pianeta Terra
”.
L’area protetta, gestita dal centro di ricerca universitario, sarà presentata dal direttore della riserva Anna Abramo,dal geologo Giovanni Sturiale e dalla naturalista e educatore ambientale Veronica Leotta del Cutgana, mentre ilprogetto sarà illustrato dalla docente Marzia Andronico dell’Istituto statale “Fermi - Guttuso” di Giarre (docente diprogettazione e design) e dall’architetto Leopoldo Mazzoleni, ideatore della performance “Orto di Mare”.
Gli studenti oltre al laboratorio esperienziale condotto dall’architetto Mazzoleni - con la collaborazione delcuratore Eugenia García Sottile (prof.ssa dell’Università Cattolica di Valencia San Vincente Mártir ed esperta di artecontemporanea), dei docenti Marzia Andronico, Francesco Lanzafame, Maria Rosaria Licciardello, SantiMaccarrone, Ester Narcisi, Giulia Elena Previtera e Mario Restifo dell’Istituto statale “Fermi - Guttuso” di Giarre econ la consulenza geologica di Giovanni Sturiale – visiteranno la riserva naturale guidati lungo il percorso esplorativo dal direttore Anna Abramo e dalla dott.ssa Veronica Leotta.
Il workshop “Orto di Mare” permetterà ai giovani studenti di conoscere l’affascinante mondo della geologia edell’arte e il loro ruolo strategico per il nostro futuro.
Alfio Russo – Cutgana, Università di Catania
18/10/2017
https://www.cutgana.unict.it/isola-bella-studenti-al-workshop-naturalistico-e-artistico-orto-di-mare
La exposición que reúne a Fuencisla Francés y Leopoldo Mazzoleni tiene como punto de encuentro dos modos de reflejar el movimiento del tiempo… a través de la forma. El movimiento nos llega acotado a un espacio pero podemos imaginar cuál ha sido el proceso que ha llevado a este momento en el que lo encontramos y cómo continuaría. Seguir es una idea que recupera de la imagen su movimiento y del espacio su proyección, más allá de los límites físicos de la obra.
Eugenia García Sottile