Bibiana Crespo-Martin
Bibiana Crespo-Martín (Barcelona, 1971) is Delegate of the Rector for International Mobility and Global Engagement of the University of Barcelona (2021- present). She has also been Vice-Rector for Internationalization of the University of Barcelona (2020-2021) and Delegate of the Rector for Internationalization of the University of Barcelona (2017-2020). PhD in Fine Arts (2000) and Professor at the Faculty of Fine Arts, University of Barcelona. Visiting Lecturer at the University of California Berkeley (USA), the Universidad Nacional Autónoma de México (Mexico), the Universidad de Buenos Aires (Argentina) and the University of the West of England (UK), among others. Principal Researcher of the inter-university project Artistic creation of today, heritage of tomorrow in Ibero-America: museum and archive, memory and identity (ArtChive-Me) funded by the UIU and Research Member of the research project R+D+i Artes y Poéticas: Creación, Archivo y Educación. Author of more than 80 publications in specialized journals and books —http://orcid.org/0000-0003-2746-9944—.
She has participated at different International Artist’s Residency Programmes, eg: the Art and Creation Centre of Lâzarea (Romaia, 2008 and 2010), the Sixth Kepes Symposium in Nature Art in Noszvay (Hungary, 2010), the Sandarbh Ineternational Residency in Partapur (India, 2011), the Yatoo International Artists in Residency in Wongol (Korea, 2011), the Taipei Artist Village in Taipei (Taiwan, 2012), the E-Corea International Art Workshop Biennale in Jeonllabukdo (Korea, 2012), the 1st International Changzhou China Art Workshop And Festival in Changzhou (China, 2013) and the Abiko International Open Air Exhibition in Abiko (Japan, 2014) —http://bbcrespo2.wixsite.com/bibianacrespo.
She has participated at different International Artist’s Residency Programmes, eg: the Art and Creation Centre of Lâzarea (Romaia, 2008 and 2010), the Sixth Kepes Symposium in Nature Art in Noszvay (Hungary, 2010), the Sandarbh Ineternational Residency in Partapur (India, 2011), the Yatoo International Artists in Residency in Wongol (Korea, 2011), the Taipei Artist Village in Taipei (Taiwan, 2012), the E-Corea International Art Workshop Biennale in Jeonllabukdo (Korea, 2012), the 1st International Changzhou China Art Workshop And Festival in Changzhou (China, 2013) and the Abiko International Open Air Exhibition in Abiko (Japan, 2014) —http://bbcrespo2.wixsite.com/bibianacrespo.
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Papers by Bibiana Crespo-Martin
Los Libros-Arte se pueden explorar, leer y percibir de numerosos modos y generalmente “solicitan” ser leídos de forma distinta al resto de libros, permitiendo al lector explorarlos más allá de las convenciones lógicas del lenguaje y de la racionalidad de la página impresa en dos dimensiones.
En los Libros-Arte la apariencia del texto es maleable y está sujeto a su manejo a través de los significados formales. No cabe duda que el potencial del libro en términos visuales es complejo y multivalente, y podemos afirmar que todos los libros son visuales –incluso los libros que son exclusivamente escritos–, todos ellos tienen una presencia y un carácter visual. Los múltiples usos del texto, gracias a la riqueza y ductilidad que ofrece, lo convierten en uno de los elementos que dota de individualidad y singularidad a los Libros-Arte de cada artista.
Según la relación que se establece entre el libro y el texto, y atendiendo a los diversos tratamientos, en este estudio dilucidaremos las diversas clasificaciones que se desprenden –Textos Inventados, Poesía Concreta, Poesía Trouvé, Poesía Visual, Libros Preexistentes e Hipertexto–.
Many of his cyberpoems and collections of poems –book of poems / hyperbooks-art– have been called as videogames for their playing and interactivity elements and their aesthetic similarities, although Nelson alters its rules and wants that user internalizes the textual elements –words, image, video, sound, interface, movement, animations and codes– of the work.
We will reflect on a contemporary artistic practice characterized by interdisciplinarity, the use of hypertext and hypermediality, the new functions and functionalities of reading, writing and narrative, etc., and we will demonstrate that the hypermedia nature of Nelson’s work comes to mean his own poetic.
Podemos aseverar, pues, que el Hiperlibro-Arte resulta ser mucho más sustancioso y expansivo en sus posibilidades artísticas que el e-Libro Arte. Y por ello, tras establecer la clara distinción entre ambos, este ensayo tratará de dilucidar su idiosincrasia. Analizaremos sus componentes multilineales y multisecuenciales, las funciones del hipertexto y la escritura visual, sus diversas formas y formatos –online, en pantalla de ordenador o proyectado, iPad, teléfono móvil, tablet, iPod Touch…–, así como reflexionaremos sobre otros conceptos colaterales que claramente vinculados como son, entre otras cuestiones, los cambios de rol del artista y el lector-espectador participativo gracias a la interactividad o la percepción háptica que ofrecen.
undergoing something of a revival and re-reading that is
as necessary as it is fascinating. In 19th century European
sculpture the figure of the Hero became a key reference,
a motif that artists frequently referred to and that was
appreciated for its strength as well as its malleability and
versatility. This was a character capable of representing
universal and timeless values and, as such, has a relevance
that remains almost untouched today. The Hero, presented
via different characters and in various actions, taking various
styles and trends into account, both exemplifies and explains
18th century Catalan sculpture, especially insofar as the first
half of the century is concerned.
The publication you are holding is based on a study of 19th
century Catalan sculpture, and in particular its relationship
with the iconographic motif of the Hero, which was
undertaken within the The Other 19th Century funded project
(HAR2010-16328) by the GRACMON Research Group from
the University of Barcelona’s Art History Department. The
project looks to out interest in the work of Fine Art academies
in the contemporary period as education and training centres
which formed artistic taste. The project also seeks to join the
new historiographic revisions of 19th century Catalan art
and to contribute to the re-reading of the academies and
academia undertaken several years ago.
To improve the synergy and increase the project’s range we
have considered The Image of the Hero in Catalan Sculpture
(1800-1850) as an idea framework for the II International
Conference on the Modernity of the Classic, which will take
place in Barcelona on the 30th and 31st of May 2013. The
inauguration of the exhibition will coincide with the start of
Conference, to which it is closely linked both in terms of its
thematic vocation as well as its range and focus.
The essay that forms the basis for this work, ‘The Image of
the Hero in Catalan Sculpture (1800-1850)’, which you will
find in these pages, is also the name of the exhibition that
explains the results thereof; an exhibition that will take place
simultaneously in the Sant Jordi Royal Catalan Academy of
Fine Arts Museum, the National Art Museum of Catalonia,
the Frederic Marès Museum in Barcelona and the Víctor
Balaguer Library-Museum in Vilanova i la Geltrú. The main
object of the exhibition is to analyse the iconogragic model
of the Hero in Catalan academic sculpture at the beginning
of the 19th century. The exhibition’s focus is on this model
and its relationship to the Classical ideal, whilst trying to
establish the way in which this ideal is received, adapted
and transmitted in the production of sculptors active in the
period mentioned, such as Damià Campeny, Antoni Solà,
Josep Bover i Mas, Manuel Vilar and Adrià Ferran. The
project’s basis also allows for another train of throught which
questions the profession of the sculpture at the beginning
of the 19th century, which suggests the topos of the sculptor
himself as a Hero. Moreover, the project seeks to look beyond
the approaches to the iconographic motif of the Hero in the
sculpture of the period to juxtapose them with the vision of
contemporary artists. These artists revise the image of the
19th-century hero and recreate it through drawings all the
while attempting to fill the void between our time and theirs
and adding new readings and meaning to this material.
Various specialists from the worlds of 19th century art and the
relationships between contemporary and classical culture
and art have contributed towards this book. Ian Jenkins
explores the importance of the representation of the body in
art in Ancient Greece, in addition to its social uses; a context
which becomes one of the starting points for academicism
in the Neoclassical period. Focussing on the reading of the
reception of the classical in the 19th century, Carlos Reyero
reflects on the heroic nude and analyses the consolidation
of this motif in the field of sculpture and taking into account
its symbolic use: the meanings that the sculpture could carry
and its historical evolution. The inherent ambivalence of
the iconography of the Hero is studied by Tomas Macsotay
in his essay which shows how the Académie Royale de Paris
was on of the most important centres in spreading European
academic ideas in the 18th century. The 19th century’s interest
in the Classical carries on well into the 20th, and becomes clear
in the figurative trends of the avant-guard and inter-war
classicism. This phenomenon, termed ‘Neo-neoclassicim’ is examined by Patrick Bade. All the texts are printed in both
English and Catalan versions.
The second part of this publication is dedicated to illustrating
all these reflections visually. Here we present the selection of
sculptures that gave rise to the project, accompanied by brief
studies that analyse and contextualise them. This is also the
place where the work of various new artists is shown, all
of whom related to the University of Barcelona’s Fine Art
Faculty, who put themselves in the place of artists from 200
years ago and have executed ‘academies’, drawings using
the ancient model: drawing having always been one of the
strong points of the acadamies. Unfortunately the Academy
of Barcelona’s drawing archive disappeared during the
historical process of the institution’s modernisation. This
lack has promoted the creation of these new ‘academies’, a
project undertaken by Professors Bibiana Crespo and Roser
Masip, part of the University of Barcelona’s Department
of Drawing, who have also collaborated in the publication
with individual reflections on the process of drawing the the
academies.
Finally, the book presents a collection of plaster anatomical
fragments belonging to the academic and sculpture Frederic
Marès, today kept at the museum bearing his name. These
very likely came from the Barcelona Fine Art School and
allow us to better understand the use of casts and moulds of
antique and natural works that were used in the traditional
apprenticeship. Together with these fragments, the catalogue
includes academia drawings from the end of the 18th century
and the beginning of the 19th century from the National Art
Museum of Catalonia which enrich the reflection around the
methodologies and systems of representations of the body in
Catalan art of the period studied.
Analizaremos la obra de algunos artistas e ilustradores que, no conformes solamente con pintar paredes, han dedicado mucho tiempo y esfuerzo a realizar animaciones ‘stock motion’ con graffiti. Tal es el caso de los graffiti animados de Blu, o los Gif animados de INSA, la ‘limpieza urbana’ de Alexandre Orion o el speed-painting de Denny Dent, entre otras acciones que sólo se pueden ver en la Web. Terminaremos con una reflexión acerca de las connotaciones estéticas y conceptuales entre los graffiti artesanales y los graffiti animados de última generación.
In book: La imatge de l’heroi a l’escultura catalana (1800-1850), Chapter: El dibuix, una pràctica immarcesible. Evolució, desenvolupament i vigència de l’ensenyament del dibuix, Editors: Dux Editorial, pp.133-144