GIULIA DEGANO | Universitat de Barcelona (original) (raw)
Papers by GIULIA DEGANO
Visioni Latinoamericane, 2024
Dar forma al tiempo: dialogues with pre-Columbian heritage in Contemporary art in Peru and Bolivi... more Dar forma al tiempo: dialogues with pre-Columbian heritage in Contemporary art in Peru and Bolivia The author proposes a review of the history of contemporary Peruvian and Bolivian art from the perspective of a profound relationship with antiquity ranging from the indigenist rediscovery of the beginning of the 20th century, with decisive antecedents at the beginning of the Republican period, to the present day. Antiquity is proposed here as a guiding thread in the development of a national language that effectively combines receptivity to Western artistic proposals with a conscious and calibrated choice of artistic and architectural motifs from local antiquity, eschewing the automatism of copying from its earliest manifestations.
RESUMEN Este texto presenta los primeros resultados de un análisis interdisciplinario de la liter... more RESUMEN Este texto presenta los primeros resultados de un análisis interdisciplinario de la literatura e iconografía del "juego con la muerte", a través de un estudio de su recurrencia y simbología en diferentes culturas del mundo. Dada la amplitud del tema y el carácter pionero de esta investigación, se ha optado por un análisis comparativo de sus manifestaciones más llamativas desde la antigüedad hasta la actualidad. "Jugar con la muerte" es una acción que se halla en numerosas tradiciones, y representa a la vez el entretenimiento y el engaño. La comparación entre las representaciones de esta acción en diferentes contextos mitológicos e iconográficos permite usar una mirada tanto universal cuanto particular: en efecto, si bien la aspiración a explicar la muerte y la inmortalidad representen características innatas del ser humano, y resulten similares en sus formas de manifestarse, cada cultura reproduce estos deseos de manera peculiar, y a veces única. Este tema constituye entonces un indicador valioso para el estudio intercultural de una de las mayores características del hombre, la tendencia a superar sus propios límites: en este caso, representando lo irrepresentable y comprendiendo lo incomprensible, la muerte.
Nierika. Revista de Estudios de Arte, 2017
This paper seeks to define the role of visual arts in the construction of the memory of the inter... more This paper seeks to define the role of visual arts in the construction of the memory of the internal armed conflict in Peru (1980-2000). This theme has been analyzed by representative cases, which have been selected for the social and political issues that the artwork reveals and for their influence on the cultural policies dedicated to this theme. This work is divided in two parts: one about the independent artistic actions of institutional critique that took place during and after the conflict; and other about the institutional initiatives represented by public memorials and museums of memory.
Music in Art, 2020
Could historical avant-gardes still drive significantly innovative and interdisciplinary research... more Could historical avant-gardes still drive significantly innovative and interdisciplinary research? And, if so, is the current aesthetic research contributing to the evolution of this theoretical inheritance? The Phonochromatic System elaborated by Marco De Biasi (b.1977) seems to give an affirmative answer to these questions.
Rooted in the visual and musical theories of Wassily Kandinsky, Johannes Itten and Arnold Schoenberg, and an inheritor of a historical synesthetic quest with origins that date back to the sixteenth century, this Italian composer, painter and guitar player investigates the nature of the relationship between sound and color along with the synesthetic possibilities allowed by new technologies in the development of new artistic paths. An introduction to De Biasi’s synesthetic work, and particularly his Phonochromatic System, shows the correspondence between his composition and painting through a selection of visual, musical and synesthetic examples, including some of the artist’s most recent works and unpublished material.
The appendix includes two manifestos, which provide a summary of De Biasi’s synesthetic theory set out in his own words: the Manifesto of the Movimento Artistico di Sintesi Sinestettica (SIN-E), founded by De Biasi and Max Ciogli in 2010, and De Biasi’s Manifesto fonocromatico (2018).
This paper aims to highlight essential as a small part of the extensive production of photographe... more This paper aims to highlight essential as a small part of the extensive production of photographer Kati Horna (1912-2000), mainly the three series made for Mexican magazine S.nob in 1962, or Oda a la Necrofilia, Impromptu con Arpa and Paraisos artificiales . The text proposes an analysis of both series as well as some contemporary emblematic works to those reportages.
Drafts by GIULIA DEGANO
Questa è una breve nota inedita tratta dalla bozza di un'articolo in preparazione su arte e illus... more Questa è una breve nota inedita tratta dalla bozza di un'articolo in preparazione su arte e illustrazione italiana ai tempi del coronavirus. Alcuni si saranno chiesti quale sia l'origine della famosa immagine del medico con l'Italia zona-rossa: il testo parte da questa domanda. Un piccolo omaggio e commento all'Italia malata.
Books by GIULIA DEGANO
Liminality, Transgression and Space Across the World Being, Living and Becoming(s) Against, Across and with Borders and Boundaries, 2024
The chapter covers the pivotal role of borders and liminality in the contemporary semantic produc... more The chapter covers the pivotal role of borders and liminality in the contemporary semantic production and social action from an artistic perspective, comparing a selection of curatorial cases of study from conflictive border areas with an approach that favours cultural practices of interconnection, hybridization, resilience, decentralization , and de-colonization. The chapter presents the partially and tentatively the outcomes of an ongoing research that fits methodologically in the interpretive line of the border concept proposed by Rodríguez (1996), Iveković (2010) and especially Mezzadra & Neilson (2013), seeking to give it novel application in the historical-artistic sphere, and focusing, on this occasion, on a selection of curatorial cases of representation and intervention of physical and symbolical boundaries. The conceptual frame emerging from this analysis results in three interconnected categories of the border as a space of the state of exception, a privileged site for social intervention, and an epistemic territory of possibilities, also providing a disruptively inclusive definition of the border from a cross-cultural, utopian, gendered, and historical approach which reflect the counter-narrative potential of this space and its communities.
FUREGATTI & E. MARTUCCELLI (eds.), Efímero/Permanente: pugnas por la conservación del arte público. Lima: Universidad Ricardo Palma., 2019
Entre 1980 y 2000 el Perú vivió un conflicto armado interno durante el cual la sociedad peruana s... more Entre 1980 y 2000 el Perú vivió un conflicto armado interno durante el cual la sociedad peruana se vio afectada por la acción conjunta del terrorismo subversivo y de Estado. Al finalizar el conflicto, el trabajo de la Comisión de la Verdad y Reconciliación (CVR), con la publicación de su Informe Final (2003) y la organización de la exposición fotográfica Yuyanapaq, inauguró un largo y difícil proceso de construcción de la memoria y de camino hacia la reparación. Buena parte de las siguientes iniciativas nacionales con el mismo propósito se desarrollaron bajo los auspicios de dicha comisión, y prevalentemente por voluntad de privados ciudadanos y asociaciones de los derechos humanos, y solo tardíamente del Estado peruano. Entre los contados casos híbridos figura el monumento El ojo que llora (2005) de la escultora holandesa naturalizada peruana Lika Mutal (1939-2016), ubicado en Campo de Marte, en Lima, monumento que, con su desarrollo y fortunas alternas, será el caso emblemático y sensible analizado por la presente aportación.
El presente capítulo tiene como objetivo evidenciar la repercusión en las artes visuales de la ... more El presente capítulo tiene como objetivo evidenciar la repercusión en las artes visuales de la desaparición de 43 estudiantes de la Escuela Normal Rural “Raúl Isidro Burgos Alanís” de Ayotzinapa en la noche del 26 de septiembre de 2014. La recurrencia de este tema en la obra de artistas mexicanos e internacionales muestra el fuerte valor simbólico de este caso en la representación de la violencia y de la crisis estatal que caracterizan al México contemporáneo. Al enfrentar este tema, los artistas han jugado un papel importante no solo en la construcción de la memoria colectiva del caso, sino también en la vasta movilización ciudadana a favor de la verdad y justicia por Ayotzinapa.
Book Reviews by GIULIA DEGANO
Improvvisamente, mi resi conto che, con un'intuizione che andava in paral-lelo con quella dei gra... more Improvvisamente, mi resi conto che, con un'intuizione che andava in paral-lelo con quella dei grandi maestri italiani del XV e XVI secolo-tanto ammirati da Ricardo-ma con un linguaggio radicalmente contemporaneo, egli aveva creato un'opera che faceva diventare plastici ed evidenti gli arcani concetti filosofici e teologici che l'immaginazione esplosiva di Dante plasma nelle geometrie impossibili di quel portentoso canto, il XXXIII del Paradiso, l'ultimo della Commedia. I l testo di Jorge Wiesse Rebagliati, vincitore del 17° Premio Internazionale Flaiano di Italianistica-La cultura italiana nel mondo, indaga un'inedita relazione tra Dante e l'arte peruviana contemporanea analizzando Dante con-templa la Trinidad (2007) di Ricardo Wiesse,. Nell'introduzione, intitolata Un Dante australe, l'autore racconta l'articola-to iter che ha condotto all'elaborazione del testo. L'opera risale alla commemo-razione dei 700 anni dal probabile inizio della stesura della Divina Commedia, avvenuta nell'aprile del 2007 su Perú, del cui corpus docente è parte lo stesso Jorge Wiesse. Per il disegno del manifesto nel quale si annunciava la variegata gamma di attività culturali prevista per tale commemorazione gli organizzatori, ovvero l'autore stesso affiancato da Martina Vinatea Recoba e Carlos Gatti Murriel, si rivol-sero al noto artista plastico Ricardo Wiesse. Come descritto nel testo, tale collaborazione fornì a Ricardo lo spunto per l'elaborazione di un'opera che si può considerare eccezionale all'interno della sua produzione. La singolarità dell'opera, data dalla sua complessità plastica e contenutistica, è tale da aver indotto Jorge Wiesse a tornare su di essa in diverse occasioni: prima, fra il 2012 e il 2015, in una serie d'interventi che videro la sua partecipazione a simposi ed esposizioni dedicate all'opera dantesca dall'Università di Rochester, dalla medesima Università del Pacífico e a Biella, per l'inaugurazione della mostra L'America dantesca, curata da Luís Alfredo Agusti; e poi, nel 2017, dedicandole l'omonima pubblicazione Dante contempla la Trinità.
Conference Presentations by GIULIA DEGANO
35 World Congress Comite International d'Histoire de I'Art, 2023
The theme of the CIHA World Congress in Sao Paolo 2022 was, as we all know, "Migrations." This se... more The theme of the CIHA World Congress in Sao Paolo 2022 was, as we all know, "Migrations." This session emerged from the essential fact that the border, or borders in the plural, are central to the paradigm of migration: they are both sites of cultural contact and encounter, and harsh barriers to movement and human mobility. The great paradox about migration in our era of globalization, our supposedly increasingly "borderless" world, is that it has resulted simultaneously in a proliferation of borders-in the form of physical walls, security fences, barricades, and a general redrawing of boundary lines-whose goal is to prohibit and restrict human mobility. But borders do not merely thwart migration, they are also constantly changing horizons in motion, rather than permanent fixtures in geo-political space. In other words, borders are not merely on the margins of human experience, but they have somehow come to "inscribe themselves at the very center of contemporary experience." 1 This quote, along with the title of this session, is derived from the 2013 book by political theorists, Sandro Mezzadra and Brett Neilson, titled Border as Method, or The Multiplication of Labor. For these authors, based in Italy and Australia, respectively, the idea of "border as method" is about advancing a methodological agenda. They argue that the border is not merely a research object to be held up and analyzed as an autonomous thing; but rather a kind of semantic field-in their terms, an "epistemic framework"-and therefore a privileged lens through which to view our world. This means recognizing the powerful proliferation of borders around the world today, but equally the struggles against them and the acts of
Visioni Latinoamericane, 2024
Dar forma al tiempo: dialogues with pre-Columbian heritage in Contemporary art in Peru and Bolivi... more Dar forma al tiempo: dialogues with pre-Columbian heritage in Contemporary art in Peru and Bolivia The author proposes a review of the history of contemporary Peruvian and Bolivian art from the perspective of a profound relationship with antiquity ranging from the indigenist rediscovery of the beginning of the 20th century, with decisive antecedents at the beginning of the Republican period, to the present day. Antiquity is proposed here as a guiding thread in the development of a national language that effectively combines receptivity to Western artistic proposals with a conscious and calibrated choice of artistic and architectural motifs from local antiquity, eschewing the automatism of copying from its earliest manifestations.
RESUMEN Este texto presenta los primeros resultados de un análisis interdisciplinario de la liter... more RESUMEN Este texto presenta los primeros resultados de un análisis interdisciplinario de la literatura e iconografía del "juego con la muerte", a través de un estudio de su recurrencia y simbología en diferentes culturas del mundo. Dada la amplitud del tema y el carácter pionero de esta investigación, se ha optado por un análisis comparativo de sus manifestaciones más llamativas desde la antigüedad hasta la actualidad. "Jugar con la muerte" es una acción que se halla en numerosas tradiciones, y representa a la vez el entretenimiento y el engaño. La comparación entre las representaciones de esta acción en diferentes contextos mitológicos e iconográficos permite usar una mirada tanto universal cuanto particular: en efecto, si bien la aspiración a explicar la muerte y la inmortalidad representen características innatas del ser humano, y resulten similares en sus formas de manifestarse, cada cultura reproduce estos deseos de manera peculiar, y a veces única. Este tema constituye entonces un indicador valioso para el estudio intercultural de una de las mayores características del hombre, la tendencia a superar sus propios límites: en este caso, representando lo irrepresentable y comprendiendo lo incomprensible, la muerte.
Nierika. Revista de Estudios de Arte, 2017
This paper seeks to define the role of visual arts in the construction of the memory of the inter... more This paper seeks to define the role of visual arts in the construction of the memory of the internal armed conflict in Peru (1980-2000). This theme has been analyzed by representative cases, which have been selected for the social and political issues that the artwork reveals and for their influence on the cultural policies dedicated to this theme. This work is divided in two parts: one about the independent artistic actions of institutional critique that took place during and after the conflict; and other about the institutional initiatives represented by public memorials and museums of memory.
Music in Art, 2020
Could historical avant-gardes still drive significantly innovative and interdisciplinary research... more Could historical avant-gardes still drive significantly innovative and interdisciplinary research? And, if so, is the current aesthetic research contributing to the evolution of this theoretical inheritance? The Phonochromatic System elaborated by Marco De Biasi (b.1977) seems to give an affirmative answer to these questions.
Rooted in the visual and musical theories of Wassily Kandinsky, Johannes Itten and Arnold Schoenberg, and an inheritor of a historical synesthetic quest with origins that date back to the sixteenth century, this Italian composer, painter and guitar player investigates the nature of the relationship between sound and color along with the synesthetic possibilities allowed by new technologies in the development of new artistic paths. An introduction to De Biasi’s synesthetic work, and particularly his Phonochromatic System, shows the correspondence between his composition and painting through a selection of visual, musical and synesthetic examples, including some of the artist’s most recent works and unpublished material.
The appendix includes two manifestos, which provide a summary of De Biasi’s synesthetic theory set out in his own words: the Manifesto of the Movimento Artistico di Sintesi Sinestettica (SIN-E), founded by De Biasi and Max Ciogli in 2010, and De Biasi’s Manifesto fonocromatico (2018).
This paper aims to highlight essential as a small part of the extensive production of photographe... more This paper aims to highlight essential as a small part of the extensive production of photographer Kati Horna (1912-2000), mainly the three series made for Mexican magazine S.nob in 1962, or Oda a la Necrofilia, Impromptu con Arpa and Paraisos artificiales . The text proposes an analysis of both series as well as some contemporary emblematic works to those reportages.
Questa è una breve nota inedita tratta dalla bozza di un'articolo in preparazione su arte e illus... more Questa è una breve nota inedita tratta dalla bozza di un'articolo in preparazione su arte e illustrazione italiana ai tempi del coronavirus. Alcuni si saranno chiesti quale sia l'origine della famosa immagine del medico con l'Italia zona-rossa: il testo parte da questa domanda. Un piccolo omaggio e commento all'Italia malata.
Liminality, Transgression and Space Across the World Being, Living and Becoming(s) Against, Across and with Borders and Boundaries, 2024
The chapter covers the pivotal role of borders and liminality in the contemporary semantic produc... more The chapter covers the pivotal role of borders and liminality in the contemporary semantic production and social action from an artistic perspective, comparing a selection of curatorial cases of study from conflictive border areas with an approach that favours cultural practices of interconnection, hybridization, resilience, decentralization , and de-colonization. The chapter presents the partially and tentatively the outcomes of an ongoing research that fits methodologically in the interpretive line of the border concept proposed by Rodríguez (1996), Iveković (2010) and especially Mezzadra & Neilson (2013), seeking to give it novel application in the historical-artistic sphere, and focusing, on this occasion, on a selection of curatorial cases of representation and intervention of physical and symbolical boundaries. The conceptual frame emerging from this analysis results in three interconnected categories of the border as a space of the state of exception, a privileged site for social intervention, and an epistemic territory of possibilities, also providing a disruptively inclusive definition of the border from a cross-cultural, utopian, gendered, and historical approach which reflect the counter-narrative potential of this space and its communities.
FUREGATTI & E. MARTUCCELLI (eds.), Efímero/Permanente: pugnas por la conservación del arte público. Lima: Universidad Ricardo Palma., 2019
Entre 1980 y 2000 el Perú vivió un conflicto armado interno durante el cual la sociedad peruana s... more Entre 1980 y 2000 el Perú vivió un conflicto armado interno durante el cual la sociedad peruana se vio afectada por la acción conjunta del terrorismo subversivo y de Estado. Al finalizar el conflicto, el trabajo de la Comisión de la Verdad y Reconciliación (CVR), con la publicación de su Informe Final (2003) y la organización de la exposición fotográfica Yuyanapaq, inauguró un largo y difícil proceso de construcción de la memoria y de camino hacia la reparación. Buena parte de las siguientes iniciativas nacionales con el mismo propósito se desarrollaron bajo los auspicios de dicha comisión, y prevalentemente por voluntad de privados ciudadanos y asociaciones de los derechos humanos, y solo tardíamente del Estado peruano. Entre los contados casos híbridos figura el monumento El ojo que llora (2005) de la escultora holandesa naturalizada peruana Lika Mutal (1939-2016), ubicado en Campo de Marte, en Lima, monumento que, con su desarrollo y fortunas alternas, será el caso emblemático y sensible analizado por la presente aportación.
El presente capítulo tiene como objetivo evidenciar la repercusión en las artes visuales de la ... more El presente capítulo tiene como objetivo evidenciar la repercusión en las artes visuales de la desaparición de 43 estudiantes de la Escuela Normal Rural “Raúl Isidro Burgos Alanís” de Ayotzinapa en la noche del 26 de septiembre de 2014. La recurrencia de este tema en la obra de artistas mexicanos e internacionales muestra el fuerte valor simbólico de este caso en la representación de la violencia y de la crisis estatal que caracterizan al México contemporáneo. Al enfrentar este tema, los artistas han jugado un papel importante no solo en la construcción de la memoria colectiva del caso, sino también en la vasta movilización ciudadana a favor de la verdad y justicia por Ayotzinapa.
Improvvisamente, mi resi conto che, con un'intuizione che andava in paral-lelo con quella dei gra... more Improvvisamente, mi resi conto che, con un'intuizione che andava in paral-lelo con quella dei grandi maestri italiani del XV e XVI secolo-tanto ammirati da Ricardo-ma con un linguaggio radicalmente contemporaneo, egli aveva creato un'opera che faceva diventare plastici ed evidenti gli arcani concetti filosofici e teologici che l'immaginazione esplosiva di Dante plasma nelle geometrie impossibili di quel portentoso canto, il XXXIII del Paradiso, l'ultimo della Commedia. I l testo di Jorge Wiesse Rebagliati, vincitore del 17° Premio Internazionale Flaiano di Italianistica-La cultura italiana nel mondo, indaga un'inedita relazione tra Dante e l'arte peruviana contemporanea analizzando Dante con-templa la Trinidad (2007) di Ricardo Wiesse,. Nell'introduzione, intitolata Un Dante australe, l'autore racconta l'articola-to iter che ha condotto all'elaborazione del testo. L'opera risale alla commemo-razione dei 700 anni dal probabile inizio della stesura della Divina Commedia, avvenuta nell'aprile del 2007 su Perú, del cui corpus docente è parte lo stesso Jorge Wiesse. Per il disegno del manifesto nel quale si annunciava la variegata gamma di attività culturali prevista per tale commemorazione gli organizzatori, ovvero l'autore stesso affiancato da Martina Vinatea Recoba e Carlos Gatti Murriel, si rivol-sero al noto artista plastico Ricardo Wiesse. Come descritto nel testo, tale collaborazione fornì a Ricardo lo spunto per l'elaborazione di un'opera che si può considerare eccezionale all'interno della sua produzione. La singolarità dell'opera, data dalla sua complessità plastica e contenutistica, è tale da aver indotto Jorge Wiesse a tornare su di essa in diverse occasioni: prima, fra il 2012 e il 2015, in una serie d'interventi che videro la sua partecipazione a simposi ed esposizioni dedicate all'opera dantesca dall'Università di Rochester, dalla medesima Università del Pacífico e a Biella, per l'inaugurazione della mostra L'America dantesca, curata da Luís Alfredo Agusti; e poi, nel 2017, dedicandole l'omonima pubblicazione Dante contempla la Trinità.
35 World Congress Comite International d'Histoire de I'Art, 2023
The theme of the CIHA World Congress in Sao Paolo 2022 was, as we all know, "Migrations." This se... more The theme of the CIHA World Congress in Sao Paolo 2022 was, as we all know, "Migrations." This session emerged from the essential fact that the border, or borders in the plural, are central to the paradigm of migration: they are both sites of cultural contact and encounter, and harsh barriers to movement and human mobility. The great paradox about migration in our era of globalization, our supposedly increasingly "borderless" world, is that it has resulted simultaneously in a proliferation of borders-in the form of physical walls, security fences, barricades, and a general redrawing of boundary lines-whose goal is to prohibit and restrict human mobility. But borders do not merely thwart migration, they are also constantly changing horizons in motion, rather than permanent fixtures in geo-political space. In other words, borders are not merely on the margins of human experience, but they have somehow come to "inscribe themselves at the very center of contemporary experience." 1 This quote, along with the title of this session, is derived from the 2013 book by political theorists, Sandro Mezzadra and Brett Neilson, titled Border as Method, or The Multiplication of Labor. For these authors, based in Italy and Australia, respectively, the idea of "border as method" is about advancing a methodological agenda. They argue that the border is not merely a research object to be held up and analyzed as an autonomous thing; but rather a kind of semantic field-in their terms, an "epistemic framework"-and therefore a privileged lens through which to view our world. This means recognizing the powerful proliferation of borders around the world today, but equally the struggles against them and the acts of