Ceramics and Contemporary Arts. Emergence of Milenary Practices in 21st Century

Authors

  • Mariel Tarela Taller Cerámica Complementaria. Facultad de Bellas Artes Universidad Nacional de La Plata.

DOI:

https://doi.org/10.24215/24691488e004

Keywords:

Ceramics, practices, contemporary arts

Abstract

In recent years, contemporary ceramic art has emerged showing new expressions of other kinds of perception and covering areas that were restricted to this discipline before the second half of the 20th century. We focus on the transformations within the context of contemporary arts that comprise the rising and flourishing of artistic ceramic practices at the present. The works of five contemporary artists show a complex present shaped based on visibilities and invisibilities.

Downloads

Download data is not yet available.

Author Biography

Mariel Tarela, Taller Cerámica Complementaria. Facultad de Bellas Artes Universidad Nacional de La Plata.

References

Agamben, G. (2005). Profanaciones. Buenos Aires, Argentina: Adriana Hidalgo.

Aizicovich, A. (2017). Relación de dependencia [Instalación]. Recuperada de http://untref.edu.ar/muntref/noticias/andres-aizicovich-ganador-del-premio-braque-2017/

Aranda, J., Wood, B., Kuan, V. (ed.). (2010). What Is Contemporary Art? Recuperado de http://www.e-flux.com/journal/what-is-contemporary-art-issue-one/

AA. VV. (2012). Documenta 13 [Muestra]. Recuperado de https://universes.art/es/documenta/2012/

Baggio, G. (2009). Motivo para sábana (Variaciones cromáticas y formales) [Cerámica esmaltada]. Recuperada de http://www.gabrielbaggio.com/catalogo.html

Baggio, G. (2011). Elogio de la profanación [Cerámica esmaltada]. Recuperada de http://www.gabrielbaggio.com/catalogo.html

Belting, H. (1983). Das Ende der Kunstgeschichte? Berlin, Deutschland: Deutscher Kunstverlag.

Bürger, P. (1974). Teoría de la vanguardia. Barcelona, España: Península.

Danto, A. (2006). Después del fin del arte. Buenos Aires, Argentina: Paidós.

De Certeau, M. (1999). La invención de lo cotidiano. Ciudad de México, México: Universidad Iberoamericana.

Gadamer, H. G. (1996). La actualidad de lo bello. Barcelona, España: Paidós.

Infocerámica. (2018). Precios récord en subastas de cerámica. Recuperado en http://www.infoceramica.com/2018/04/precios-record-en-subastas-de-ceramica/

Insurralde, P. (2017). Música Congelada [instalación]. Recuperada de: http://pabloinsurralde.blogspot.com.ar/p/enlaces.html

Insurralde, P. (2014). Rita Flores. Recuperado de: http://pabloinsurralde.blogspot.com/p/enlaces.html

Lyotard, J. F. (1979). La Condición Postmoderna. Barcelona, España: Ediciones Cátedra.

Pierpaoli, D. (2013). Sobre bibliotecas [instalación]. Recuperada de: http://www.deborapierpaoli.com.ar/textos/8/oh-si-existiera

PNUD/UNESCO. (1994). Visión del arte latinoamericano en la década de 1980. Lima, Perú: UNESCO y Centro Wilfredo Lam.

Oliveras, E. (2017). Estética. La cuestión del arte. Buenos Aires, Argentina: Emecé.

Raulet, G. (Ed.). (2010). Werke und Nachlaß. Kritische Gesamtausgabe Band 19: Walter Benjamin. Über den Begriff der Geschichte. Hamburg, Deutschland: Suhrkamp Verlag.

Shiner, L. (2010). La invención del arte. Una historia cultural. Barcelona, España: Paidós.

Smith, T. (2012). Qué es el arte contemporáneo. Buenos Aires, Argentina: Siglo XXI.

Tiedemann, R. (Ed.). (1982). Walter Benjamin Gesammelte Schriften. Band 5 Das Passagen-Werk. Frankfurt am Main, Deutschland: Suhrkamp Verlag.

Downloads

Published

2018-11-29

How to Cite

Tarela, M. (2018). Ceramics and Contemporary Arts. Emergence of Milenary Practices in 21st Century. Arte E Investigación, (14), e004. https://doi.org/10.24215/24691488e004

Issue

No. 14 (2018): Arte e investigacion 14

Section

Articles

License

The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International. According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.

The cession of non-exclusive rights means that after the publication (post print) in Arte e Investigación the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the National University of La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.

Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.