Papers by Luis D. Rivero Moreno
IV Congreso Internacional sobre análisis fílmico, 2011
1. La historia de un engaño Si, como dijo Braque, la verdad existe y sólo se inventa la mentira, ... more 1. La historia de un engaño Si, como dijo Braque, la verdad existe y sólo se inventa la mentira, debemos situar al arte, paradigma de la invención humana, estrechamente ligado al engaño de los sentidos y, en consecuencia, al fraude. Retrotrayéndonos a sus más remotos orígenes podemos entender que el arte siempre fue un modo de distorsión de la realidad. Desde la prehistoria, pintura y grabado no fueron más que una actividad mágica y religiosa, para nada relacionables con un intento racional y científico de conocimiento. ¿Se engañaban por aquel entonces los primitivos hombres a sí mismos haciéndose creer que la caza sería más prolífica si era pre-vista en la superficie rocosa? Siglos más tarde Platón sentaría las bases de una teoría ontológica que ha sobrevivido hasta nuestros días. Distinguiendo entre el mundo de las ideas y el físico, inteligible y tangible, Platón nos advierte de que vemos reflejos de realidades, y que el arte es además uno de los reflejos más distorsionados de todos ellos, un engaño, sombra de sombras. A lo largo de la historia la ontología ha vivido en la creencia de que toda representación es secundaria, deviene necesariamente de la proyección más o menos realista de otro objeto o sujeto. La representación, la imagen, será pues incapaz de portar "verdad", aunque sea una tentativa de comprensión de la realidad por parte del hombre, le separa de ésta irremediablemente. La ilusión de realidad, la proyección de deseos en el arte, se ha visto reflejada en múltiples mitos e historias. El hombre ha saciado así su voluntad de convertirse en demiurgo, concediendo vida a lo inanimado y realidad a lo ficticio. La entrada de ciencia y matemática en la creación llevó a una paradójica multiplicación de lo ilusorio a partir del renacimiento: con el uso de la perspectiva creemos percibir espacio tridimensional donde sólo hay un plano. El avance empírico, por tanto, ofrecía la verosimilitud necesaria al truco visual. El dominio de la perspectiva permitió, por ejemplo, el desarrollo del trompe l'oeil. Efectos ópticos que a día de hoy continúan con el desarrollo del 3D, la última vuelta de tuerca de un avance tecnológico ligado al irreal espectáculo de los sentidos. Pero la sospecha sobre la realidad se mantuvo también a lo largo de la historia. No ya sólo el arte, capaz de ilusionar pero inevitablemente falaz, sino la propia realidad o, más bien, la manera en que podemos conocerla, ha sido puesta en entredicho en numerosas ocasiones. ¿Y si la vida no es más que sueño?, se preguntó Calderón; ¿y si no somos más que personajes de una "nivola"?, dejó en el aire Unamuno en Niebla. Al extremo encontraremos la incapacidad de distinción entre realidad y ficción: Don Quijote, inducido por su afición a las novelas de caballería terminará inmerso en una de ellas, la creada por su imaginación. Debemos distinguir en todo caso entre la mentira consciente e inconsciente. Un matiz clave, ya que incluso algunas definiciones de la palabra hacen directo hincapié en su necesidad de "voluntad de no decir la verdad aún conociéndola". Don Quijote no será un mentiroso, vivirá en la mentira.
Artnodes
In the last decades, the digital image has moved between the thin line that separates its exponen... more In the last decades, the digital image has moved between the thin line that separates its exponential multiplication and its continuous danger of invisibility and loss. Despite the fact of being constantly used on the internet or social network interactions, the difficulties in filtering, gathering, authenticating and preserving new media images have led them to be a type of art barely collected by contemporary art museums. Even more, the huge amount of material produced not only by artists or creatives but also by citizens makes it impossible for cultural institutions to tackle the task of preserving a significant percentage of it. Museums seem to be unable to distinguish what might be considered art or heritage among the massive amount of images that fed popular culture. Nevertheless, the irruption of blockchain culture has focused on the importance of digital images as an identity, social and economic asset. NFTs seem to attempt to remedy the weaknesses of the digital image by as...
Ge-Conservación, 2024
Los problemas de conservación del arte digital se han sucedido en las últimas décadas. Estos han ... more Los problemas de conservación del arte digital se han sucedido en las últimas décadas. Estos han llevado a justificar la baja representación del arte asociado a las nuevas tecnologías en los museos de arte contemporáneo. La ausencia de protocolos claros en la conservación del arte digital y el enorme esfuerzo económico y técnico que ésta supone han llevado a una situación de extrema precariedad de la imagen digital. La irrupción de los NFTs y la tecnología blockchain parece ofrecer una oportunidad para subsanar las debilidades asociadas a las características de los nuevos medios. La temporalidad, obsolescencia, dinamismo e inestabilidad de este tipo de obras han puesto en entredicho su posibilidad de perdurar en el tiempo. El objetivo es aclarar si la estructura de datos y metadatos asociados a las transacciones en el blockchain solucionan o no el reto de proteger a la imagen digital de su desaparición. Nos encontraríamos así ante una potencial opción de conservación del patrimonio digital.
The problems of digital art preservation have been recurrent in the last decades. These have led to justify the under representation of art associated with new technologies in contemporary art museums. The absence of clear protocols in the conservation of digital art and the significant economic and technical effort that it would entail have led to a situation of extreme precariousness of the digital image. The irruption of NFTs and blockchain technology seems to offer an opportunity to remedy the weaknesses associated with the characteristics of new media. The temporality, obsolescence, dynamism and instability of this type of works have called into question their possibility of enduring over time. The aim is to clarify whether the structure of data and metadata associated with transactions in the blockchain solve the challenge of protecting digital images from disappearance. Like this we could be in front of a potential new way of preservation of digital heritage.
Digital Creativity, 2024
The absence of clear protocols in the conservation of new media art has led to a situation of ext... more The absence of clear protocols in the conservation of new media art has led to a situation of extreme precariousness of digital artworks. The irruption of blockchain culture and NFTs seems to offer an opportunity to overcome this situation. This paper aims to clarify whether or not the structure of data and metadata associated with transactions in the blockchain solves the challenging obsolescent and unstable condition of new media art. The disturbing reality is that the so-called 'cryptoart' is not always stored and encapsulated on the blockchain itself. In a high number of cases, assets just point to artworks living outside, stored on off-chain servers or platforms. This paper analyzes the possibilities for the preservation of art hosted on the chain. Despite some limitations, this method is understood as the more coherent and robust for long-term life and availability of digital art associated with Web3 technology.
Artnodes, 2024
In the last decades, the digital image has moved between the thin line that separates its exponen... more In the last decades, the digital image has moved between the thin line that separates its exponential multiplication and its continuous danger of invisibility and loss. Despite the fact of being constantly used on the internet or social network interactions, the difficulties in filtering, gathering, authenticating and preserving new media images have led them to be a type of art barely collected by contemporary art museums. Even more, the huge amount of material produced not only by artists or creatives but also by citizens makes it impossible for cultural institutions to tackle the task of preserving a significant percentage of it. Museums seem to be unable to distinguish what might be considered art or heritage among the massive amount of images that fed popular culture. Nevertheless, the irruption of blockchain culture has focused on the importance of digital images as an identity, social and economic asset. NFTs seem to attempt to remedy the weaknesses of the digital image by associating it with a verifiable and supposedly incorruptible contract. This study tries to analyse the precariousness of the digital image as a key element in the emergence and sudden rise and fall of the so-called “crypto-art”. To this end, the idea of the “poor image” outlined by Steyerl is followed. The aim is to clarify whether the digital images associated with blockchain transactions solve the problematic obsolescent and unstable condition of the works, or if, on the contrary, these are used as fuel for a new ultra-liberal financial machine being quickly consumed and discarded.
Museum Management and Curatorship, 2023
The museum’s practices, spaces, and goals have evolved significantly in recent decades. Therefore... more The museum’s practices, spaces, and goals have evolved significantly in recent decades. Therefore, ICOM created in 2017 a working group commissioned to revise the former definition, established since 1974. In all the proposals one fundamental and unquestioned concept appear: their non-profit dimension. This article tries to analyze some of the contradictions shown by the museum definition and its proposals, focusing mainly on the inconsistencies when contrasted to the economic side of the institutions, more accused in the new generation of urban contemporary art museums. This study provides a comprehensive overview of the previous works that have related contemporary art museum governance and management as actively immersed in a harsh free-market cultural economy related to profit-making initiatives. Assuming that museums have an undeniable variety of roles, the main aim of this paper is to clarify if contemporary art museums can still be defined in those general terms used by ICOM.
Arte, Individuo y Sociedad, 2023
Durante 2020 y 2021 asistimos al boom de un nuevo mercado artístico de la mano de los de NFTs (No... more Durante 2020 y 2021 asistimos al boom de un nuevo mercado artístico de la mano de los de NFTs (Non Fungible Tokens), con ventas millonarias, así como la aparición de un enorme número de plataformas y un debate mediático en torno al arte digital nunca antes visto. Este estudio trata de analizar la situación de las imágenes y los creadores asociados a la nueva tecnología blockchain. Para ello se pretenden retomar y adaptar a este contexto cultural específico las ideas de Byung Chul Han sobre la sociedad del cansancio y la sociedad de la transparencia. El objetivo final es aclarar si el arte asociado a esta nueva cultura tecnológica es la consecuencia del tipo de sociedad radiografiada por Han. Si así fuera, podría hablarse de un nuevo tipo de arte adaptado a la propia aceleración y automatización de los procesos de producción, distribución y consumo de bienes actuales. También de la conformación de una "estética del cansancio" derivada en gran parte del hiperempleo sufrido por los creativos y por la inflación de la imagen mediática y artística. En las nuevas circunstancias ultraliberales de la cultura, las obras de arte terminan por reducir su impacto a lo económico, convertidas en activo financiero de rápida digestión y que conlleva la anulación de toda posibilidad de una experiencia estética pausada, reflexiva y/o crítica.
During 2020 and 2021 we are witnessing the boom of a new art market with NFTs (Non Fungible Tokens), accompanied by millionaire sales, as well as the emergence of a huge number of platforms and a media debate around digital art never seen before. This study attempts to analyze the situation of the images and creators associated with the new blockchain technology. To do so, it aims to take up and adapt Byung Chul Han's ideas about the burn-out society and the society of transparency to the mentioned cultural and artistic context. The ultimate goal is to clarify whether the art related to this new technological culture is the consequence of the type of society analyzed by Han. If so, we could speak of a new type of art adapted to the acceleration and automation of the current processes of production, distribution and consumption of goods. Also, of the conformation of a "burn-out aesthetics" derived from the hyper-employment suffered by creatives and the inflation of the media and artistic image. In the new ultraliberal circumstances of culture, the artworks end up reducing their impact to the economic, becoming a quickly digestible financial asset that entails the annulment of any possibility of a slow, reflective and/or critical aesthetic experience.
Accesos. Revista de investigación artística, 2023
En el entorno de una nueva economía post-fordista, el capitalismo cultural ha encontrado en la ir... more En el entorno de una nueva economía post-fordista, el capitalismo cultural ha encontrado en la irrupción de la cultura blockchain y el llamado cryptoarte un importante aliado. Los precursores de esta nueva vertiente artística plantean la llegada de los NFTs como un elemento disruptor, capaz de solucionar los problemas que ha tenido el arte digital hasta nuestros días. Mientras tanto, los críticos afirman que, en el entorno blockchain, el arte sería poco más que mero mecanismo de alimentación del juego especulativo de la economía financiera post-capitalista. Este texto trata de abordar algunos de los resortes que permiten entrever las causas del porqué de la fuerte irrupción del llamado cryptoarte en el sistema artístico tradicional y el mercado del arte. En esa línea se abordarán preguntas sobre la utilidad y valor del arte en la cultura digital, su papel en la economía blockchain, así como el rol del trabajador artístico y sus condiciones en el nuevo entorno de producción, distribución y venta de arte.
Abstract (english): In the environment of a new post-fordist economy, cultural capitalism has found in the irruption of blockchain culture and the so-called cryptoart an important ally. The forerunners of this new artistic aspect pose the arrival of NFTs as a disruptive element, capable of solving the problems that digital art has had up to the present day. Meanwhile, critics claim that, in the blockchain environment, art would be little more than a mere feeding mechanism for the speculative game of the post-capitalist financial economy. This text tries to address some of the springs that allow us to glimpse the causes of the strong irruption of the so-called crypto-art in the traditional art system and the art market. Accordingly, questions about the usefulness and value of art in digital culture, the role of art within the blockchain economy or the role of the art worker and his or her conditions in the new environment of production, distribution and sale of art will be addressed.
Ciudad y Territorio. Estudios territoriales, 2022
En el mundo digital y tecnológico actual, la regeneración urbana podría haber dejado de ser un pr... more En el mundo digital y tecnológico actual, la regeneración urbana podría haber dejado de ser un proceso físico y arquitectónico para pasar a ser, simplemente, una superficial puesta en escena de nuevas y más atractivas imágenes de la ciudad que hagan de la misma un destino deseado. Sin embargo, la representación requiere de un relato que la contextualice y dé sentido. El ámbito cultural y patrimonial ofrece para ello sus espacios como plataformas de intercambio y comunicación. Este artículo aborda las opciones que disponen los habitantes de la ciudad como responsables de su narración y de su representación. Se multiplican así las posibilidades de una planificación democrática, abierta y participativa. Sólo de este modo la planificación urbana será más creativa y sostenible, y su relato más acorde a la compleja realidad de la ciudad.
In today’s digital and technological world, urban regeneration may no longer be a physical and architectural process, but simply a superficial staging of new and more attractive images of the city that make it a desired destination. However, representation requires a narrative that contextualizes it and gives it meaning. The cultural heritage sphere offers its spaces for this purpose as platforms for exchange and communication. This article addresses the chances of the city’s inhabitants as responsible for its narration and representation. This multiplies the possibilities for democratic, open and participatory urban planning. Only in this way will urban planning be more creative and sustainable, and its narrative more suitable with the complex reality of the city.
Minius, 2020
Esta investigación analiza el período compren-dido entre finales de los años 20 y principios de l... more Esta investigación analiza el período compren-dido entre finales de los años 20 y principios de los 30 en la literatura de Francisco Ayala. La cuestión principal gira en torno a la deno-minación como vanguardista de los escritos del granadino, poniéndolos en relación con otras corrientes de vanguardia españolas y europeas del momento. Ayala fue un escritor fuertemente marcado por la vivencia del cine y de la metrópolis en un momento clave de la historia contemporánea europea, un autor pre-ocupado por el posicionamiento del artista en su contexto político y social.
Abstract: This research analyzes the period between the late 20's and early 30's in the literature of Francisco Ayala. The main issue is to solve the question about the denomination as vanguard of the writings of the Spanish writer, and after that, if possible, put them in relation to other avant-garde art currents, Spanish or European. Ayala was a writer strongly marked by the experience of cinema and the metropolis on a key moment in contemporary European history. An author concerned about the role of the artist in a particular political and social context.
Journal of Cultural Heritage Management and Sustainable Development, 2020
Purpose
In the past years, the importance of the cultural economy has led urbanism to a new persp... more Purpose
In the past years, the importance of the cultural economy has led urbanism to a new perspective. Simultaneously, the main international institutions have pointed out the need to shift the urban economy into a sustainable one, green and energy efficient. The confluence of both flows explains why the imaginaries of the urban future are related to the concept of creative cities. Hence, the new economic engine of the cities should be founded on art, creativity and culture, all of them understood as clean energies. This study aims to show the crucial role of cultural heritage as a propeller of a new kind of urban development, more flexible and democratic, based on the construction of the city as a communicational, collective and open effort. Therefore, the city is conceived as a cultural heritage platform where tangible and intangible, social and creative interactions happen. Within this context, urban narratives appear as a dynamic material drawn on the possibilities offered by the heritage received from the past as a resource to be used for re-thinking and re-shaping the future.
Design/methodology/approach
The approach of this paper is based on a profound analysis of historical cities, mainly in the European context, supported by the work carried out within the H2020 ROCK project. The cities within the project are: Athens, Bologna, Cluj-Napoca, Eindhoven, Lisbon, Liverpool, Lyon, Torino, Skopje and Vilnius. A wide variety of case studies coming mainly from these cities have been considered to understand better the theoretical point of view on the role of heritage, urban development and city branding. The information about cultural heritage projects used as case studies has been collected and selected coming from the direct work made on the field and the communication open with institutions and cultural stakeholders in every city. Even more, parallel seminars on cultural heritage and city branding organized within the project have allowed the authors to gather very valuable, updated and fresh information on these issues in every particular case.
Findings
The study proves that cultural heritage has been traditionally underrated as a mechanism for developing the future of the city and its communicative strategy. Cultural heritage appears as a practical tool for constructing more cohesive urban communities based on the use of public space and shared memories as storytelling platforms. The capacity of resiliency and sustainability revealed by cultural heritage through the time is, as well, a clear reference to construct a potential sustainable city, socially, culturally and environmentally.
Social implications
Cultural heritage projects are shown as a perfect way to build stronger communities. Through the engagement and participation of citizens, urban storytelling reinforces a more open, real and sustainable city able to face the challenges of contemporary life (gentrification, pollution, mobility, etc.). Like that, heritage appears as a feasible tool for including citizens coming from all ages and backgrounds in the construction of a collective narrative of the city, based on the past and looking at the foreseen.
Originality/value
This study tries to relate fields that traditionally have remained not well connected: urban development, city branding and cultural heritage. The study demonstrates that cultural heritage is crucial as an urban narrative tool and consequently, as a planning/branding mechanism. Moreover, cultural institutions and cultural projects are very relevant platforms for social interaction, inviting citizens to have a more active role in the construction of the city as a collective communicational effort based on a network of social and cultural relations. Storytelling turns up as a new key element for communicating the city from grassroots, in a sustainable, democratic and inclusive manner, far away from the traditional top-down official perspective. Crowdsourcing methods are very powerful for establishing a shared and cohesive city brand, now rooted in its cultural and social foundations and not the marketing campaign clichés. Finally, storytelling emerges as a creative resource that enhances the social, cultural and economic layout of the city, forcing urbanists to include a greener, fairer and more democratic perspective in the future of cities.
Revista PH, 2019
En un mundo mayoritariamente urbano, la necesidad de mejorar las condiciones de vida en las ciuda... more En un mundo mayoritariamente urbano, la necesidad de mejorar las condiciones de vida en las ciudades se ha convertido en un debate prioritario a nivel global. Las ciudades comparten redes, retos y problemas en todas las latitudes casi sin variación. El patrimonio cultural aparece como un ámbito de impacto creciente a nivel político, social y económico en el desarrollo de urbano. Su propia resiliencia y resistencia al paso del tiempo, y su capacidad de activación de la memoria y los espacios comunes pueden ejercer de referente clave respecto a los objetivos expuestos en las agendas urbanas. Las instituciones deben permanecer abiertas a escuchar la voz de todos los grupos sociales, de la diversidad de comunidades e individuos que conforman la ciudad. Ese paso es crucial para que la ciudadanía adquiera un papel activo en el futuro del espacio que habitan. La ciudad debe ser escuchada y reescrita de un modo inclusivo. Esa narración tendrá necesariamente que ser asumida por los propios actores y relatores de la ciudad, sus ciudadanos.
Espacio, Tiempo y Forma serie VII, Historia del Arte, 2018
En el contexto actual, dominado por la globalización y una economía post-industrial, el patrimoni... more En el contexto actual, dominado por la globalización y una economía post-industrial, el patrimonio cultural se sitúa en un importante papel como motor desde el que se activa un turismo de masas. El patrimonio se ha adaptado a la era digital ofreciendo una doble vertiente: la de su visita física, por un lado; y la de la generación de una imagen digital por otro. Ésta actuará a modo de logotipo con el que atraer la atención sobre el producto ofrecido al lejano visitante. Vivimos pues en la época de la reproductibilidad digital del patrimonio, un patrimonio convertido en gran parte en inmaterial a través de su repercusión en las redes sociales. Fábrica de información en tiempo real, toda la actividad surgida en torno a los monumentos señala la enorme capacidad de producción e intercambio económico que poseen. El carácter peculiar, único y original de lo histórico-artístico afirma su rol como producto gourmet del mercado turístico. Esta investigación se centra en el análisis de las características de la industria cultural y su repercusión en el caso concreto de la Alhambra, paradigma del difícil posicionamiento del patrimonio en la búsqueda del equilibrio entre beneficio económico y conservación histórica, artística y paisajística.
In the current context of globalization and post-industrial economy, cultural
heritage has developed an important role as a propeller of massive tourism. Heritage has adapted its position to the digital age offering two possibilities: a physical visit, on the one hand; and, on the other hand, the generation digital images. Therefore the intention will be to create a logo that draws attention to the product offered to the distant visitor. We live in the era of the digital reproduction of heritage, an era where heritage turned largely immaterial through its repercussion in social networks. Monuments, as real-time information factories, shows an enormous capacity of production and economic exchange. The peculiar, unique and original character of the historical-artistic heritage affirms its role as gourmet product on the tourist market. This research focuses on the analysis of the characteristics of cultural industry and its repercussion in the specific case of the Alhambra, a paradigm of the difficult position of the heritage in the search of the balance between economic benefit and historical, artistic and landscape conservation.
Collection and Curation, 2018
Digital language has meant a revolution in the methods of production, distribution and conservati... more Digital language has meant a revolution in the methods of production, distribution and conservation of contemporary art. The purpose of
this paper is to reflect on the new status of museums within the digital age. Works using new media must be understood as spaces of nonhierarchical
communication where an artist’s role is diluted and the public becomes a user that completes an open process. Therefore, the function
of the museum is challenged, being no longer a moral authority or a place of storing physical works. Because of its instability and obsolescence, the
only valid method for the conservation of digital art is permanence through change.
Ars Longa, 2017
En la sociedad de la información las imágenes de la violencia se multiplican hasta hacer complica... more En la sociedad de la información las imágenes de la violencia se multiplican hasta hacer complicada la posibilidad de una reflexión sobre las mismas. Esta investigación propone recuperar el trabajo de la artista Ana Mendieta como forma de afrontar la visibilización del problema de la violencia de género de un modo artístico y personal, contrapuesto al extendido desde los mecanismos del poder. De este modo, basándonos en las principales corrientes de estudios de género en contraposición a la obra de la artista cubana, se describe la posibilidad que ofrece la muestra del cuerpo y la violencia sobre el mismo a través del body art y la performance. Las mujeres alcanzan así un mecanismo de búsqueda de una identidad propia, de la creación de su imagen y de la expresión de los problemas sociales habitualmente silenciados por el poder patriarcal, empeñado en adscribirlos al ámbito privado y no visible.
De Arte, 2017
La tendencia a la desmaterialización del arte durante el siglo XX verá su culminación definitiva ... more La tendencia a la desmaterialización del arte durante el siglo XX verá su culminación definitiva en el desarrollo de los nuevos medios digitales actuales. Con ellos las creaciones artísticas acentuarán la carga de la información contenida sobre cualquier otro elemento físico. Los medios quedarán reducidos a materializadores circunstanciales de las obras. En este contexto, dominado por la rápida obsolescencia de las nuevas tecnologías, la cuestión será la de las posibles estrategias de conservación de las obras de cara al futuro. El patrimonio cultural digital producido en nuestros días corre un peligro constante de pérdida. Ante ello debe redifinirse el papel de la institución, un medio ya no almacenador de creaciones moribundas, sino punto neurálgico que debe mantener abierto el proceso de comunicación con el público-usuario.
The arrival of new digital media has meant the end of the trend toward dematerialization started at the beginning of the 20th century. Because of this fact, artistic creations make the information burden a priority compared to any other physical element. Media have been reduced to mere materializers of the works. Early obsolescence of new technologies focus the question on the possible strategies of the conservation of works for the future. Digital heritage produced today is in an unceasing danger of loss. Therefore, the role of the institution must be redefined. The museum is not going to be a storehouse for dying works of art anymore, on the contrary it will become a main core that must keep the process of communication open to the public-user.
LIÑO. Revista Anual de Historia del Arte, 2017
Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes ... more Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo tiempo.
Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.
Revista Discurso Visual, 2016
La guerra es un acontecimiento extremo, crucial a la hora de analizar la figura del fotorreporter... more La guerra es un acontecimiento extremo, crucial a la hora de analizar la figura del fotorreportero. El estadunidense James Nachtwey, protagonista de un biopic cinematográfico, nos permite entender de un modo profundo los condicionantes a los que nos enfrentamos a la hora de contemplar las imágenes surgidas de los conflictos bélicos, siempre marcados por canales de información mediatizados. El espectador se mantendrá a la distancia, teledirigido gracias a códigos perfectamente regulados. Puede que, después de todo, disparar fotografías sea un ejercicio análogo a la utilización de cualquier otra arma, una herramienta de violencia y poder. Puede que vivamos en una constante guerra de la imagen.
War is an extreme event, crucial when analyzing the figure of the photojournalist. The
American James Nachtwey, as a protagonist in a biopic film, allows us to understand more deeply the conditioning factors to which we face when addressing pictures of armed conflicts, always marked by channels of mediated information. The viewer is kept at a distance, on remote control, thanks to perfectly regulated codes. It may be that after all shooting pictures is an analogous exercise to the use of any other weapon, a tool of violence and power. Maybe we live in a permanent war of pictures.
Ars Bilduma, 2015
Gran parte de la necesidad humana de representación de su propia figura se ha vertido en la const... more Gran parte de la necesidad humana de representación de su propia figura se ha vertido en la construcción de dobles en tres dimensiones. El maniquí será uno de los más utilizados en el ámbito artístico desde las primeras vanguardias. Planteado no sólo como sustituto sino competidor, adquirirá una autonomía que hace al hombre caer en la duda sobre la vitalidad de semejantes figuras. Tras ello quizás no esté más que el deseo de proyección de vida en un “otro” sobre el que autorretratarse. La personalidad artística de Narcissister pone al descubierto esa necesidad
Most of human need for representation of his own figure has gone into the construction of doubles in three dimensions. Mannequin will be one of the most used in art since the first avant-garde. Being considered not just as a substitute but a man competitor, acquiring an autonomy that makes man fall into doubt about the vitality of such figures. After all there is nothing more than the desire to project life in an “other”, a figure where every artist and viewer is portrayed. The artistic personality of Narcissister reveals the masturbatory need to see ourselves reflected in every surface.
Empeñado en conceptos como lo abyecto y obsceno, el arte contemporáneo más trangresor ha tratado ... more Empeñado en conceptos como lo abyecto y obsceno, el arte contemporáneo más trangresor ha tratado de abrir
las vías de acceso al interior del cuerpo. De este modo el sexo, la enfermedad, la violencia y la muerte se han
representado una y otra vez con el objetivo de reflexionar sobre su existencia imprescindible, a pesar de tratarse
como tabúes sociales. Sin embargo todo quedó en un simulacro escenificado. ¿No será entonces el harakiri la
apoteosis de la acción artística?
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Papers by Luis D. Rivero Moreno
The problems of digital art preservation have been recurrent in the last decades. These have led to justify the under representation of art associated with new technologies in contemporary art museums. The absence of clear protocols in the conservation of digital art and the significant economic and technical effort that it would entail have led to a situation of extreme precariousness of the digital image. The irruption of NFTs and blockchain technology seems to offer an opportunity to remedy the weaknesses associated with the characteristics of new media. The temporality, obsolescence, dynamism and instability of this type of works have called into question their possibility of enduring over time. The aim is to clarify whether the structure of data and metadata associated with transactions in the blockchain solve the challenge of protecting digital images from disappearance. Like this we could be in front of a potential new way of preservation of digital heritage.
During 2020 and 2021 we are witnessing the boom of a new art market with NFTs (Non Fungible Tokens), accompanied by millionaire sales, as well as the emergence of a huge number of platforms and a media debate around digital art never seen before. This study attempts to analyze the situation of the images and creators associated with the new blockchain technology. To do so, it aims to take up and adapt Byung Chul Han's ideas about the burn-out society and the society of transparency to the mentioned cultural and artistic context. The ultimate goal is to clarify whether the art related to this new technological culture is the consequence of the type of society analyzed by Han. If so, we could speak of a new type of art adapted to the acceleration and automation of the current processes of production, distribution and consumption of goods. Also, of the conformation of a "burn-out aesthetics" derived from the hyper-employment suffered by creatives and the inflation of the media and artistic image. In the new ultraliberal circumstances of culture, the artworks end up reducing their impact to the economic, becoming a quickly digestible financial asset that entails the annulment of any possibility of a slow, reflective and/or critical aesthetic experience.
Abstract (english): In the environment of a new post-fordist economy, cultural capitalism has found in the irruption of blockchain culture and the so-called cryptoart an important ally. The forerunners of this new artistic aspect pose the arrival of NFTs as a disruptive element, capable of solving the problems that digital art has had up to the present day. Meanwhile, critics claim that, in the blockchain environment, art would be little more than a mere feeding mechanism for the speculative game of the post-capitalist financial economy. This text tries to address some of the springs that allow us to glimpse the causes of the strong irruption of the so-called crypto-art in the traditional art system and the art market. Accordingly, questions about the usefulness and value of art in digital culture, the role of art within the blockchain economy or the role of the art worker and his or her conditions in the new environment of production, distribution and sale of art will be addressed.
In today’s digital and technological world, urban regeneration may no longer be a physical and architectural process, but simply a superficial staging of new and more attractive images of the city that make it a desired destination. However, representation requires a narrative that contextualizes it and gives it meaning. The cultural heritage sphere offers its spaces for this purpose as platforms for exchange and communication. This article addresses the chances of the city’s inhabitants as responsible for its narration and representation. This multiplies the possibilities for democratic, open and participatory urban planning. Only in this way will urban planning be more creative and sustainable, and its narrative more suitable with the complex reality of the city.
Abstract: This research analyzes the period between the late 20's and early 30's in the literature of Francisco Ayala. The main issue is to solve the question about the denomination as vanguard of the writings of the Spanish writer, and after that, if possible, put them in relation to other avant-garde art currents, Spanish or European. Ayala was a writer strongly marked by the experience of cinema and the metropolis on a key moment in contemporary European history. An author concerned about the role of the artist in a particular political and social context.
In the past years, the importance of the cultural economy has led urbanism to a new perspective. Simultaneously, the main international institutions have pointed out the need to shift the urban economy into a sustainable one, green and energy efficient. The confluence of both flows explains why the imaginaries of the urban future are related to the concept of creative cities. Hence, the new economic engine of the cities should be founded on art, creativity and culture, all of them understood as clean energies. This study aims to show the crucial role of cultural heritage as a propeller of a new kind of urban development, more flexible and democratic, based on the construction of the city as a communicational, collective and open effort. Therefore, the city is conceived as a cultural heritage platform where tangible and intangible, social and creative interactions happen. Within this context, urban narratives appear as a dynamic material drawn on the possibilities offered by the heritage received from the past as a resource to be used for re-thinking and re-shaping the future.
Design/methodology/approach
The approach of this paper is based on a profound analysis of historical cities, mainly in the European context, supported by the work carried out within the H2020 ROCK project. The cities within the project are: Athens, Bologna, Cluj-Napoca, Eindhoven, Lisbon, Liverpool, Lyon, Torino, Skopje and Vilnius. A wide variety of case studies coming mainly from these cities have been considered to understand better the theoretical point of view on the role of heritage, urban development and city branding. The information about cultural heritage projects used as case studies has been collected and selected coming from the direct work made on the field and the communication open with institutions and cultural stakeholders in every city. Even more, parallel seminars on cultural heritage and city branding organized within the project have allowed the authors to gather very valuable, updated and fresh information on these issues in every particular case.
Findings
The study proves that cultural heritage has been traditionally underrated as a mechanism for developing the future of the city and its communicative strategy. Cultural heritage appears as a practical tool for constructing more cohesive urban communities based on the use of public space and shared memories as storytelling platforms. The capacity of resiliency and sustainability revealed by cultural heritage through the time is, as well, a clear reference to construct a potential sustainable city, socially, culturally and environmentally.
Social implications
Cultural heritage projects are shown as a perfect way to build stronger communities. Through the engagement and participation of citizens, urban storytelling reinforces a more open, real and sustainable city able to face the challenges of contemporary life (gentrification, pollution, mobility, etc.). Like that, heritage appears as a feasible tool for including citizens coming from all ages and backgrounds in the construction of a collective narrative of the city, based on the past and looking at the foreseen.
Originality/value
This study tries to relate fields that traditionally have remained not well connected: urban development, city branding and cultural heritage. The study demonstrates that cultural heritage is crucial as an urban narrative tool and consequently, as a planning/branding mechanism. Moreover, cultural institutions and cultural projects are very relevant platforms for social interaction, inviting citizens to have a more active role in the construction of the city as a collective communicational effort based on a network of social and cultural relations. Storytelling turns up as a new key element for communicating the city from grassroots, in a sustainable, democratic and inclusive manner, far away from the traditional top-down official perspective. Crowdsourcing methods are very powerful for establishing a shared and cohesive city brand, now rooted in its cultural and social foundations and not the marketing campaign clichés. Finally, storytelling emerges as a creative resource that enhances the social, cultural and economic layout of the city, forcing urbanists to include a greener, fairer and more democratic perspective in the future of cities.
In the current context of globalization and post-industrial economy, cultural
heritage has developed an important role as a propeller of massive tourism. Heritage has adapted its position to the digital age offering two possibilities: a physical visit, on the one hand; and, on the other hand, the generation digital images. Therefore the intention will be to create a logo that draws attention to the product offered to the distant visitor. We live in the era of the digital reproduction of heritage, an era where heritage turned largely immaterial through its repercussion in social networks. Monuments, as real-time information factories, shows an enormous capacity of production and economic exchange. The peculiar, unique and original character of the historical-artistic heritage affirms its role as gourmet product on the tourist market. This research focuses on the analysis of the characteristics of cultural industry and its repercussion in the specific case of the Alhambra, a paradigm of the difficult position of the heritage in the search of the balance between economic benefit and historical, artistic and landscape conservation.
this paper is to reflect on the new status of museums within the digital age. Works using new media must be understood as spaces of nonhierarchical
communication where an artist’s role is diluted and the public becomes a user that completes an open process. Therefore, the function
of the museum is challenged, being no longer a moral authority or a place of storing physical works. Because of its instability and obsolescence, the
only valid method for the conservation of digital art is permanence through change.
The arrival of new digital media has meant the end of the trend toward dematerialization started at the beginning of the 20th century. Because of this fact, artistic creations make the information burden a priority compared to any other physical element. Media have been reduced to mere materializers of the works. Early obsolescence of new technologies focus the question on the possible strategies of the conservation of works for the future. Digital heritage produced today is in an unceasing danger of loss. Therefore, the role of the institution must be redefined. The museum is not going to be a storehouse for dying works of art anymore, on the contrary it will become a main core that must keep the process of communication open to the public-user.
Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.
War is an extreme event, crucial when analyzing the figure of the photojournalist. The
American James Nachtwey, as a protagonist in a biopic film, allows us to understand more deeply the conditioning factors to which we face when addressing pictures of armed conflicts, always marked by channels of mediated information. The viewer is kept at a distance, on remote control, thanks to perfectly regulated codes. It may be that after all shooting pictures is an analogous exercise to the use of any other weapon, a tool of violence and power. Maybe we live in a permanent war of pictures.
Most of human need for representation of his own figure has gone into the construction of doubles in three dimensions. Mannequin will be one of the most used in art since the first avant-garde. Being considered not just as a substitute but a man competitor, acquiring an autonomy that makes man fall into doubt about the vitality of such figures. After all there is nothing more than the desire to project life in an “other”, a figure where every artist and viewer is portrayed. The artistic personality of Narcissister reveals the masturbatory need to see ourselves reflected in every surface.
las vías de acceso al interior del cuerpo. De este modo el sexo, la enfermedad, la violencia y la muerte se han
representado una y otra vez con el objetivo de reflexionar sobre su existencia imprescindible, a pesar de tratarse
como tabúes sociales. Sin embargo todo quedó en un simulacro escenificado. ¿No será entonces el harakiri la
apoteosis de la acción artística?