Museo Universidad de Navarra

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    Arte contemporáneo y verdad. Estrategias para el desengaño
    (Editorial Encuentro, 2019) Acedo, N. (Nieves)
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    Las cualidades secundarias y el valor epistémico de la experiencia estética
    (Universidad de Murcia, 2021) Acedo, N. (Nieves)
    Entendido lo estético como vinculado al carácter apreciativo de la experiencia sensible, el presente artículo explora su rescate del ámbito de la mera opinión vinculándolo con la intencionalidad de la sensación. Tras definir el problema en la introducción, el texto se centra en las llamadas cualidades secundarias, objeto inmediato de la sensación. Se parte de la hipótesis de que el débil contenido epistémico que se ha atribuido a las cualidades secundarias a lo largo de la historia es responsable de la difícil valoración del juicio estético. Se procede por ello a una reformulación del tipo de noticia que recibimos de dichas cualidades, partiendo de la definición de cualidad secundaria de John Locke, y revisándola a partir de algunos textos de John McDowell y Crispin Wright, en diálogo con la teoría aristotélica de los sensibles propios. El resultado de esta revisión afectará al papel que atribuyamos, dentro del espectro de las disciplinas, a la estética y, secundariamente, al arte.
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    Los Tàpies del Museo Universidad de Navarra: el estilo como frontera entre lo internacional y lo identitario
    (2018) Acedo, N. (Nieves)
    La cesión de la colección de pintura y escultura de María osefa Huarte y la apertura al público del Museo Universidad de Navarra supone el aumento del patrimonio cultural de Navarra y la accesibilidad permanente de una sala dedicada al pintor catalán Antoni Tàpies. En este artículo se abordan las nuevas posibilidades de investigación, interpretación y recepción que se derivan de su existencia, desde el tipo de coleccionismo que ha propiciado la reunión y exhibición de las obras en Pamplona, visto en su contexto histórico, al protagonismo de los aspectos plásticos, por encima de los valores ideológicos o políticos, que la disposición de las obras y los nuevos públicos ponen en juego.
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    Mysteria, the beauty of silence: a program of contemplation to cultivate the awareness of beauty in art museums
    (Brill, 2022) Melo, A. (Amelia); Echarri-Iribarren, F. (Fernando)
    This article analyzes the design, development, and evaluation of a program on the contemplation of beauty through art aimed at museums: Mysteria, the Beauty of Silence. It investigates if this program is an efficient way to cultivate the awareness of beauty and to favor its transformative power via the art that is contained within museums. The program had a gradual development and included the design of specific art-contemplation techniques. These techniques are eclectically based on the influence of Zen practices, Advaita Vedanta, Yoga, Mindfulness and the guidelines given by Mark Rothko to enable meaningful experiences. The program was developed in the Can Framis Museum of Barcelona (Spain). Twenty-four participants between the ages of 31 and 65 years each contributed over a period with a duration of nine weeks. The usage of a mixed methodology, both quantitative and qualitative, allowed demonstration of the existence of marked changes in the participants in terms of their significant experience with immaterial beauty.
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    To be a box or not to be a box: the multiple meanings of the metaphor in Antoni Tàpies
    (2019) Echarri-Iribarren, F. (Fernando); Echarri-Iribarren, V. (Víctor)
    The reality that surrounds us throws us continuous messages that are perceived by our senses. In this perception, sight is configured as a principal sense capable of obtaining many of these messages and generating, from these perceptions, numerous thoughts, feelings and emotions. In this way, the routine of I see-thought-question- is established. The education of the gaze then becomes a matter of first order to favor the understanding of our world. Art, as a form of reality, or as an adaptation of reality, can be used as a tool to promote a different way of looking, it can be a discipline that can help to understand our reality. The following article studies the metaphor as a possible resource for the awareness of reality. An example of a metaphor, its possibility of inquiry, and discovery of meaning is the artwork Composicio amb cistella made in 1996 by Antonio Tàpies, which is part of the collection of the University of Navarra Museum. The Catalan artist uses metaphor in this sculpture trying to deceive the eye that looks at it, in an attempt to encourage participation and reflexive activation of visitors to the Museum. The conceptualization of the sculpture is specifically studied, in a synthetic way, through a philosophical approach on the aesthetic and the metaphor contributed by José Ortega y Grasset. The aim is to get support from aesthetic- philosophical which helps explore the possibilities of the metaphor as an aesthetic resource for the awareness of reality.
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    The “Kids’ Museum” Project goes to the Mater Dei school: assessment of an educational project aimed at the first cycle of early childhood education (0–3 years old)
    (Common Ground Research Networks, 2022) Barrio-Fernández, T. (Teresa); Echarri-Iribarren, F. (Fernando); Urra-Nieva, S. (Sara); Oteiza-Gurucharri, L. (Laura)
    This article is the result of a collaboration between the Mater Dei Diocesan School, Ayegui, and the University of Navarre Museum, Pamplona, both located in the Foral Community of Navarre, Spain. This article relates the experience of the Infant section of the Mater Dei Diocesan School in the development of the educational project the “Kids’ Museum,” which was conducted in collaboration with the University of Navarre Museum and aimed at the first cycle of early childhood education (0–3 years old). In this project, both organizations adopted an educational instruction method using materials for children in early childhood, including the practice of art activities and storytelling. To this end, the museum loaned the school a portable box with varied resources. All materials and activities were connected to the works of art that are part of the permanent collections of the museum.
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    Hacia una abstracción inclusiva. Los proyectos colaborativos como metodología participativa de inclusión
    (Common Ground Research Networks, 2021) Echarri-Iribarren, F. (Fernando); Barrio-Fernández, T. (Teresa)
    El arte contemporáneo tiende a presentar múltiples mensajes que posibilitan la interpretación y conocimiento de la realidad, generando en muchas ocasiones un vínculo entre la obra y la persona. Aunque este vínculo es individual, las metodologías colaborativas pueden vehiculizarlo y reforzarlo. El aspecto grupal y la unidad de diferentes colectivos y personas diversas para realizar un objetivo común resulta un valor añadido a la hora de reforzar una instrucción educativa que pretenda el conocimiento del arte contemporáneo, en ocasiones de difícil interpretación. Teniendo esto en cuenta, el Museo Universidad de Navarra ha realizado tres proyectos de metodología colaborativa-inclusiva en los que la actividad principal consistió en realizar lienzos de gran formato basados en las obras de arte contemporáneo “Guernica” (1937) de Picasso, “Círculos dentro de un círculo” (1923) de Kandinsky y la obra “Untitled” (1969) de Rothko. Los proyectos tuvieron lugar entre 2017 y 2019 y permitieron la participación tanto de centros escolares como de centros educativos especializados en colectivos diversos de todas las edades.
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    80th Anniversary of Picasso’s Guernica: A Date with Peace at the University of Navarra Museum
    (Taylor and Francis, 2019) Echarri-Iribarren, F. (Fernando)
    As in the case of the 80th anniversary of Picasso’s Guernica, painted in 1937, museums can incorporate significant dates and anniversaries into their educational programming. The University of Navarra Museum has taken advantage of the opportunity presented by this anniversary to present an educational project entitled “Guernica,” whose primary objective was to foster peace through art. This anniversary project was a collaborative one in which 946 individuals (primarily students) between the ages of 3 and 103 participated, using their creativity to seek a significant experience. In the course of the project, contextual synergies were established with artworks from the museum: Mousquetaire, Tête (Picasso, 1967) and Tombstone to the peaceful town that was Guernica (Oteiza, 1957).
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    Measuring the Rothko experience in school visitors to modern art museums
    (Taylor & francis Group, 2022) Urpí-Guercia, C. (Carmen); Reparaz-Abaitua, C. (Charo); Echarri-Iribarren, F. (Fernando)
    Recent studies in museum education focus on the quality of visitor experience to help engagement.To understand how it occurs when it comes to dealing with young visitors to modern art museums,the researchers studied the esthetic experience of Mark Rothko’s masterpiece Untitled (1969) with678 primary and 335 secondary students. Four dimensions—sensory, emotional, cognitive, andspiritual, are taken into consideration for the development and preliminary validation of a specificinstrument to evaluate the so-called “Rothko experience.” Based on quantitative data analysis,results suggest that school visitors can experience Mark Rothko’s modern art intensely by perceivingchanges in its color and other sensory features while making self-references to time and spacevanish. Besides, cultural background makes a difference in intensely experiencing Rothko’s modernart. Suggestions are made for the development of pedagogical strategies that engage youngaudience in museum experience of modern art.
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    The color of COVID-19: a creativity program to manage emotions during a pandemic
    (Monograph, 2021) Echarri-Iribarren, F. (Fernando); Barrio-Fernández, T. (Teresa); Urpí-Guercia, C. (Carmen)
    Museums can incorporate major events into their educational programs, such as the COVID-19 pandemic, which is currently affecting many aspects of society at the personal, family, school, and community levels. COVID-19 has become a subject of interest for people who are likely to profit from educational institutions. This includes the Museum of the University of Navarra, which has elected to transform the pandemic situation into an educational opportunity. To this end, it has developed a program dedicated to promoting creative and emotional intelligence in school children through art, entitled “256 colors, after Vik Muniz”. This is a collaborative project involving 704 primary school children from 23 schools. The program uses creativity to encourage introspection that helps in emotional identification and management during the pandemic by looking for meaningful experiences as a method of promoting more significant learning. Creativity is enhanced through contextual synergies using real artworks from the Museum’s own exhibitions, especially “256 colors, after Gerhard Richter” (2015) by the Brazilian artist Vik Muniz. The pandemic has forced the Museum to adapt the educational program for both in-person implementation at the Museum or virtually, in the classroom. In the latter case, the visit to the Vik Muniz exhibition was conducted virtually.