Museo Universidad de Navarra
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- Arte contemporáneo y verdad. Estrategias para el desengaño(Editorial Encuentro, 2019) Acedo, N. (Nieves)
- 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.
- 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.
- 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).
- The religious paintings of William Congdon and the problem of religious art in modernism(Brepols, 2018) Acedo, N. (Nieves)This paper presents a review of William Congdon’s religious paintings. The critical analysis takes into consideration the theory of several authors. Jacques Maritain’s comments on Congdon’s religious work are especially clarifying. He explains the difference between contemplative art, sacred art and religious art. Such ordering complements both the idea of contemplation in the Western artistic tradition and the notion of the artist as a kind of visionary, as a medium, that we find, for example, in Baudelaire. Two primary features of religious art stand out as a result of this analysis. Firstly, the concept of transparency, which regards the mediating character of the work, and secondly, the primacy of reception, regarding the function of the work in a religious context. In the final section the relevance of these notes on Congdon’s work is examined. This demands further study, not only of the works conceived as objects, but of the creative process, on the one hand, and of its critical fortune, on the other.
- Arte contemporáneo y percepción activa: reflexión crítica frente a contemplación(Biblioteca Nueva, 2015) Acedo, N. (Nieves)Se trata de un conjunto de ensayos sobre arte y otras expresiones de la cultura artística contemporánea. Los autores abordan distintos aspectos y problemáticas de las manifestaciones artísticas de nuestro tiempo, que alimentadas por la continua reflexión del arte sobre sí mismo, son el material con el que se tejen los estilos de vida y las prácticas culturales de las sociedades modernas.
- Congdon's abstract art and the metaphysics of immediacy(Cambridge Scholars Publishing, 2016) Acedo, N. (Nieves)
- Lo angélico y lo posthumano: encuentro de contrarios en el Ángel Caído de Marina Núñez(2017) Acedo, N. (Nieves)El presente texto analiza los múltiples temas que se encuentran en la serie de infografías Ángel Caído que la artista Marina Núñez expuso en la Catedral de Burgos en 2008. En estas obras, cuestiones propias del imaginario de la artista como la ciencia ficción, el feminismo y el transhumanismo se ven afectadas por la fuerza iconográfica y temática de la tradición de la representación angélica. En la primera parte se hace una breve presentación de la obra de la artista para pasar, en la segunda, al estudio de la serie en cuestión como lugar de encuentro entre aspectos propios del humanismo y de la teología judeo-cristiana con preocupaciones propias del cientifismo materialista.
- A guide and two untime chronicles to contemplate Rothko's work(SciencePG, 2018) Echarri-Iribarren, F. (Fernando); Varela, E. (Emilio)The experience offered by a museum to a visitor can have different nature and importance for everyone. Each artwork is perpetually sending a message to the viewer, possibly creating an art-person link. This link can provide experiences of great significant power to the visitor. The article below aims to delve into the facilitation of these experiences in the case of the paintings created by the artist Mark Rothko work (1903-1970). Their special characteristics mean that they can be called "Rothko experiences". As a result, a guide to viewing the work, based on the artist's recommendations, has been developed which can facilitate the emergence of these so-called "Rothko experience". Specifically, some of the multiple "realityaesthetical-art" connections experienced between Rothko's work and people whom observation incorporate an aesthetical and metaphysical dimension of reality are presented. To help in the understanding of these profound experiences and the aesthetical education of sensibility, the narrative method is used through two chronicles that gather the experiences lived by the authors in their contemplation of Rothko's work. These chronicles are examples that can help to understand the possibilities of Rothko's contemplative painting. The result is a synthetic study of Rothko work conceptualization, through one guide and the narrative dialectics between two "Rothko experiences" to show his aesthetical way of thinking, represented in his paintings.
- La participación de audiencias en museos de arte. Bibliografía general y estudio de caso del Museo de Navarra(Gobierno de Navarra: Institución Príncipe de Viana, 2014) Barrio-Fernández, T. (Teresa)Este artículo aspira a proporcionar una visión general de la teoría y práctica de la participación del público en los museos de arte. Esta participación constitu-ye un concepto tan amplio que, para el propósito de este estudio, se ha defini-do como una relación bidireccional entre la institución y sus visitantes con un beneficio tangible para ambas partes, yendo más allá de las clásicas actividades participativas que se relacionan con la educación y/o el entretenimiento. El artículo consta de dos partes. En la primera se analiza bibliografía española e internacional, demostrando que se trata de un tema actual, complejo y re-levante. En la segunda se ha explorado cómo la teoría es llevada a la práctica en un museo navarro. El proyecto elegido con esta finalidad fue «Zaragüeta, Fotógrafos», una exposición que tuvo lugar en el Museo de Navarra.