Valentina Rosas | Palermo University Argentina (original) (raw)
Papers by Valentina Rosas
By transcending traditional forms of language and relocating narratives sustained through time ou... more By transcending traditional forms of language and relocating narratives sustained through time outside of western traditions, we might find new ways of knowledges through the tactile and the imaginary.
This paper is an invitation to transcend our inherited tradition of language and relocate different narratives outside of the western historical canon; to shift our perspective and unlearn basic preconceptions in order to understand new ones. With it I intend to reverse the hegemonic patriarchal and colonial role, for that of the muted voices of indigenous communities; a voice that takes form, not in the traditional spoken word, but through textiles, a tactile metaphor for language, memory, and culture.
The Andean Textile tradition and the record-keeping system of the Quipus (recording devices fashioned from strings to collect data, keep records and information), is in the center of my discussion, as an example of a diverging form of communication based on the tactile and the imaginary.
There is a spiritual value of in the process of weaving that cant’ be overlooked. Weaving conveys the understanding of the sacred threads that interconnects all beings in the cosmos.
All weavers see a universe between thread and thread.
I believe that translating these traditions into artistic practices can expand our barriers of knowledge and relation, even when they seemed exhausted. When the world seems astray and to have reached the limits of development, art continues to demonstrate its powers of expansion and perpetual modernity by breaking the walls that enclose our perceptions.
Art has always been a vehicle for language when words can no longer suffice. And this, here has spoken to me, and I would like to speak to you, and together see how the universalism of the other is knotted into the complexities of our world and in our relation to one another.
la influencia del cine moderno en el cine contemporáneo, tomando como ejemplo 'Pierrot el loco' d... more la influencia del cine moderno en el cine contemporáneo, tomando como ejemplo 'Pierrot el loco' de Jean-Luc Godard comparada con 'Y tú mamá también' de Alfonso Cuarón.
El Objetivo del presente proyecto de grado es desligar al director de arte de los programas compu... more El Objetivo del presente proyecto de grado es desligar al director de arte de los programas computarizados para que elabore un proceso creativo por medio de trabajos manuales y experimentación con materiales. Así encontrar la manera en que este pueda desarrollarse de manera auténtica y original ampliando su capacidad de acción creativa en el entorno de la comunicación visual.
El siguiente ensayo es relevante para el director de arte puesto que la creatividad cumple un rol fundamental en su desempeño. Este proyecto busca enriquecer sus posibilidades expresivas y creativas inspiradas en las técnicas artísticas del los movimientos de vanguardia Dada y Surrealismo.
Se hace una analogía entre las características de la sociedad burguesa con la sociedad de la inmediatez ya que ambas comparten la constante búsqueda de la novedad, entendiendo lo nuevo como una variación de elementos dentro de los límites establecidos del género. La obra de arte burguesa u orgánica recae en el efecto esteticista donde el contenido cede al aspecto formal que se traduce estrictamente a lo estético. Mismo efecto en el que recaen la comunicación visual y gráfica de este periodo histórico donde fracasan en transmitir efectivamente un concepto por otorgarle primordialidad a lo estéticamente aceptado por las modas y tendencias. Como reacción a esta obra de arte orgánica las vanguardias hicieron el intento de dirigir la experiencia estética a lo practico.
Se toma como ejemplo los procesos creativos de los movimientos de vanguardia como el Dada y el Surrealismo para crear piezas inorgánicas al rechazar la fiel representación pictórica por una más metafórica. El propósito de estos procesos es crear una obra pura no contaminada por la conciencia y los parámetros establecidos por medio de la espontaneidad, lo aleatorio, el caos y la imperfección y el azar.
Se propone crear publicidad por medio de las figuras retoricas que enriquecen el lenguaje visual y lingüístico para poner al lado su función meramente descriptiva y anhelar alcanzar altos grados de significación.
Se plantea al director de arte a aspirar a hacer, lo que hoy en día llaman, arte comercial, para poder aplicar con mas libertad su creatividad en el ámbito publicitario.
Thesis Chapters by Valentina Rosas
"This poetics takes as subject matter an hermeneutic process of meaning production. An attempt to... more "This poetics takes as subject matter an hermeneutic process of meaning production. An attempt to reveal the inner logic of a work of art in examination of its formal and constituent features while inevitably raising questions of intention, meaning, and interpretation.”
This dissertation attempts to elucidate how the colonial plantation system is still perpetuated in contemporary society, focusing on the Caribbean region. The work deepens on the understanding of ‘decoloniality’ by detaching of established structures of knowledge and engaging in epistemological and historiographic restitution. It attempts to reconstruct ‘other’ways of thinking, languages, power structures, and modes of understanding the world.
The artists I chose to illustrate this exploration have developed a practice that focuses, not only on the questioning of the structures of knowledge and economic policies, but also on the individuals formation, its desires, beliefs, and expectations. Artists that are subject to the colonial wound, from which plantation is part, are eager to tell a different story, one that detaches itself from those continuously told by the dominant narratives of the west. Their
artworks can be taken as a poetic translation of historiographic treaties which will help us think of the plantation in other languages and create a space of knowledge production for a new archive to take form.
The present work examines themes of identity and belonging, employing an interdisciplinary approach towards the narratives of the plantation in the Caribbean by integrating visual arts, literature, economic politics, and social history. To explore these poetics hermeneutically within contemporary art, one must have an interdisciplinary approach that is willing to discuss aesthetics and politics. Around this reality, ‘Plantation Studies’ has been established as a field of knowledge. This work will develop their idea in which past and present are united by the plantation as a migratory concept defined by the interconnection of colonialism, imperialism, and capitalism.
Works from authors like Édouard Glissant (1928-2011) and Walter Mignolo (1941-) have helped to shape the initial approach of this work on the Caribbean discourse and the concept o‘coloniality’; both calling into question received ideas and a thorough revaluation of the notion of the self.
This endeavor is also possible by the interdisciplinary turn occurring in contemporary art as knowledge producer. To study the plantation through art is possible by collusion between anthropology and contemporary art termed by Rosalind Krauss (1941-) and Hal Foster (1955 - ) as ‘the ethnographic turn’ or the ‘artist as ethnographer’. This work will borrow their claim for anthropology as the lingua franca of artistic practice and critical discourse.
Why the plantation today?
To talk about plantation today is an attempt to trace a line that potentially joins the current political and economic system to the colonial modes of plantations, breeder of a violent and oppressive climate.
There is an inextricable link between plantation and slavery which does not exclusively belong to the times of colonization. This symbiotic relation is still ongoing within neoliberal economic systems that reverberate in countries under former colonial domination. To truly comprehend this relation, we must understand the connection between a ‘productive-economic model’ and
the historical past embedded into the social tissue of Caribbean society. But before we continue to answer the question of why this matter is relevant, we must first understand how it came to be.
Sugar colonized and founded the Americas. Sugarcane was one of the central elements in the European colonization of the Caribbean. It arrived with Columbus on his second trip to the West Indies establishing the first plantations in the Spanish colony of Santo Domingo. After its economic success, the plantation economic system began developing exponentially,
diversifying its crops, and in consequence, augmenting the demand of workforce.
With the settlement of early colonizers, the reliance on slave force, and the almost complete annihilation of the native inhabitants, the Caribbean population was transformed. The contact between different societies and relocated peoples created new ethnic manifestations. A cultural shifting process defined by Edouard Glissant as ‘creolization’: the shaping of culture from food, music, and religion that created a unique identity present on the different diasporas of the Caribbean region.
The archipelago of islands, intrinsically connected to the coastal cities bordered by the Caribbean Sea, share a common history that, despite having its roots in violence and abuse, have risen to create a rich and diverse culture in multiple ways of expressions. I intend to trace the persistence of the plantation on works of contemporary art as an aesthetic imaginary
product of collective memory. The plantation is also about all that was and is still being formed by the counter-narratives born of this oppression: le marronage, le detour, the blues, creole, the mestizos, carnival, etc. These new identities have developed new poetics expressed in a vast variety of languages pushing the limits of traditional representation. Glissant defines the art created within spaces carrying a heavy colonial past as “an attempt to devise a new discourse, a new representation for those who have been condemned to silence and to being represented by others”. Some of the plantation discourses that have developed since the end of the XIX century in
Latin America and the Caribbean continue to be disputed in contemporary art pieces today. From the literary world through the visual arts, the plantation is still addressed directly or tangentially.
The pieces that will be discussed in this work can produce an archive towards a new historiography of plantations that can update and rebuild memory. This work will achieve its mission with the compilation of a new poetics that seek to exist within its own impossibility of existence; an archive of silence, of the seemingly invisible, the impossible, the oppressed, and
of memory.
By transcending traditional forms of language and relocating narratives sustained through time ou... more By transcending traditional forms of language and relocating narratives sustained through time outside of western traditions, we might find new ways of knowledges through the tactile and the imaginary.
This paper is an invitation to transcend our inherited tradition of language and relocate different narratives outside of the western historical canon; to shift our perspective and unlearn basic preconceptions in order to understand new ones. With it I intend to reverse the hegemonic patriarchal and colonial role, for that of the muted voices of indigenous communities; a voice that takes form, not in the traditional spoken word, but through textiles, a tactile metaphor for language, memory, and culture.
The Andean Textile tradition and the record-keeping system of the Quipus (recording devices fashioned from strings to collect data, keep records and information), is in the center of my discussion, as an example of a diverging form of communication based on the tactile and the imaginary.
There is a spiritual value of in the process of weaving that cant’ be overlooked. Weaving conveys the understanding of the sacred threads that interconnects all beings in the cosmos.
All weavers see a universe between thread and thread.
I believe that translating these traditions into artistic practices can expand our barriers of knowledge and relation, even when they seemed exhausted. When the world seems astray and to have reached the limits of development, art continues to demonstrate its powers of expansion and perpetual modernity by breaking the walls that enclose our perceptions.
Art has always been a vehicle for language when words can no longer suffice. And this, here has spoken to me, and I would like to speak to you, and together see how the universalism of the other is knotted into the complexities of our world and in our relation to one another.
la influencia del cine moderno en el cine contemporáneo, tomando como ejemplo 'Pierrot el loco' d... more la influencia del cine moderno en el cine contemporáneo, tomando como ejemplo 'Pierrot el loco' de Jean-Luc Godard comparada con 'Y tú mamá también' de Alfonso Cuarón.
El Objetivo del presente proyecto de grado es desligar al director de arte de los programas compu... more El Objetivo del presente proyecto de grado es desligar al director de arte de los programas computarizados para que elabore un proceso creativo por medio de trabajos manuales y experimentación con materiales. Así encontrar la manera en que este pueda desarrollarse de manera auténtica y original ampliando su capacidad de acción creativa en el entorno de la comunicación visual.
El siguiente ensayo es relevante para el director de arte puesto que la creatividad cumple un rol fundamental en su desempeño. Este proyecto busca enriquecer sus posibilidades expresivas y creativas inspiradas en las técnicas artísticas del los movimientos de vanguardia Dada y Surrealismo.
Se hace una analogía entre las características de la sociedad burguesa con la sociedad de la inmediatez ya que ambas comparten la constante búsqueda de la novedad, entendiendo lo nuevo como una variación de elementos dentro de los límites establecidos del género. La obra de arte burguesa u orgánica recae en el efecto esteticista donde el contenido cede al aspecto formal que se traduce estrictamente a lo estético. Mismo efecto en el que recaen la comunicación visual y gráfica de este periodo histórico donde fracasan en transmitir efectivamente un concepto por otorgarle primordialidad a lo estéticamente aceptado por las modas y tendencias. Como reacción a esta obra de arte orgánica las vanguardias hicieron el intento de dirigir la experiencia estética a lo practico.
Se toma como ejemplo los procesos creativos de los movimientos de vanguardia como el Dada y el Surrealismo para crear piezas inorgánicas al rechazar la fiel representación pictórica por una más metafórica. El propósito de estos procesos es crear una obra pura no contaminada por la conciencia y los parámetros establecidos por medio de la espontaneidad, lo aleatorio, el caos y la imperfección y el azar.
Se propone crear publicidad por medio de las figuras retoricas que enriquecen el lenguaje visual y lingüístico para poner al lado su función meramente descriptiva y anhelar alcanzar altos grados de significación.
Se plantea al director de arte a aspirar a hacer, lo que hoy en día llaman, arte comercial, para poder aplicar con mas libertad su creatividad en el ámbito publicitario.
"This poetics takes as subject matter an hermeneutic process of meaning production. An attempt to... more "This poetics takes as subject matter an hermeneutic process of meaning production. An attempt to reveal the inner logic of a work of art in examination of its formal and constituent features while inevitably raising questions of intention, meaning, and interpretation.”
This dissertation attempts to elucidate how the colonial plantation system is still perpetuated in contemporary society, focusing on the Caribbean region. The work deepens on the understanding of ‘decoloniality’ by detaching of established structures of knowledge and engaging in epistemological and historiographic restitution. It attempts to reconstruct ‘other’ways of thinking, languages, power structures, and modes of understanding the world.
The artists I chose to illustrate this exploration have developed a practice that focuses, not only on the questioning of the structures of knowledge and economic policies, but also on the individuals formation, its desires, beliefs, and expectations. Artists that are subject to the colonial wound, from which plantation is part, are eager to tell a different story, one that detaches itself from those continuously told by the dominant narratives of the west. Their
artworks can be taken as a poetic translation of historiographic treaties which will help us think of the plantation in other languages and create a space of knowledge production for a new archive to take form.
The present work examines themes of identity and belonging, employing an interdisciplinary approach towards the narratives of the plantation in the Caribbean by integrating visual arts, literature, economic politics, and social history. To explore these poetics hermeneutically within contemporary art, one must have an interdisciplinary approach that is willing to discuss aesthetics and politics. Around this reality, ‘Plantation Studies’ has been established as a field of knowledge. This work will develop their idea in which past and present are united by the plantation as a migratory concept defined by the interconnection of colonialism, imperialism, and capitalism.
Works from authors like Édouard Glissant (1928-2011) and Walter Mignolo (1941-) have helped to shape the initial approach of this work on the Caribbean discourse and the concept o‘coloniality’; both calling into question received ideas and a thorough revaluation of the notion of the self.
This endeavor is also possible by the interdisciplinary turn occurring in contemporary art as knowledge producer. To study the plantation through art is possible by collusion between anthropology and contemporary art termed by Rosalind Krauss (1941-) and Hal Foster (1955 - ) as ‘the ethnographic turn’ or the ‘artist as ethnographer’. This work will borrow their claim for anthropology as the lingua franca of artistic practice and critical discourse.
Why the plantation today?
To talk about plantation today is an attempt to trace a line that potentially joins the current political and economic system to the colonial modes of plantations, breeder of a violent and oppressive climate.
There is an inextricable link between plantation and slavery which does not exclusively belong to the times of colonization. This symbiotic relation is still ongoing within neoliberal economic systems that reverberate in countries under former colonial domination. To truly comprehend this relation, we must understand the connection between a ‘productive-economic model’ and
the historical past embedded into the social tissue of Caribbean society. But before we continue to answer the question of why this matter is relevant, we must first understand how it came to be.
Sugar colonized and founded the Americas. Sugarcane was one of the central elements in the European colonization of the Caribbean. It arrived with Columbus on his second trip to the West Indies establishing the first plantations in the Spanish colony of Santo Domingo. After its economic success, the plantation economic system began developing exponentially,
diversifying its crops, and in consequence, augmenting the demand of workforce.
With the settlement of early colonizers, the reliance on slave force, and the almost complete annihilation of the native inhabitants, the Caribbean population was transformed. The contact between different societies and relocated peoples created new ethnic manifestations. A cultural shifting process defined by Edouard Glissant as ‘creolization’: the shaping of culture from food, music, and religion that created a unique identity present on the different diasporas of the Caribbean region.
The archipelago of islands, intrinsically connected to the coastal cities bordered by the Caribbean Sea, share a common history that, despite having its roots in violence and abuse, have risen to create a rich and diverse culture in multiple ways of expressions. I intend to trace the persistence of the plantation on works of contemporary art as an aesthetic imaginary
product of collective memory. The plantation is also about all that was and is still being formed by the counter-narratives born of this oppression: le marronage, le detour, the blues, creole, the mestizos, carnival, etc. These new identities have developed new poetics expressed in a vast variety of languages pushing the limits of traditional representation. Glissant defines the art created within spaces carrying a heavy colonial past as “an attempt to devise a new discourse, a new representation for those who have been condemned to silence and to being represented by others”. Some of the plantation discourses that have developed since the end of the XIX century in
Latin America and the Caribbean continue to be disputed in contemporary art pieces today. From the literary world through the visual arts, the plantation is still addressed directly or tangentially.
The pieces that will be discussed in this work can produce an archive towards a new historiography of plantations that can update and rebuild memory. This work will achieve its mission with the compilation of a new poetics that seek to exist within its own impossibility of existence; an archive of silence, of the seemingly invisible, the impossible, the oppressed, and
of memory.