Museo Universidad de Navarra

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    Tàpies’ briefcase project: generating meaningful experiences for blind people through contemporary art
    (Informa UK Limited, 2025) Echarri-Iribarren, F. (Fernando); Martínez-Rodríguez, M.A. (María Angélica); Barrio-Fernández, T. (Teresa)
    The difficulty of interacting with works of art for people with different abilities is frequently described in specialized literature. In the case of blind and partially blind people (BPB), there are clear difficulties in interacting with artwork through senses other than sight, even though these individuals have the right to access culture. Museums are generally not equipped for this. This hinders the ability to have a high-quality esthetic experience. Museums cannot ignore the rights of blind individuals. Therefore, they should create specific interactive materials that enhance the use of other senses and facilitate a meaningful esthetic experience. This is the goal of the “Tàpies Briefcase Project,” implemented at the University of Navarra Museum to promote interaction between BPB individuals and the contemporary artwork “L’esperit català” (1971) by artist Antoni Tàpies.
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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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    El programa QuidArte del Museo Universidad de Navarra: el arte al servicio del bienestar y el cuidado en el contexto de la pandemia Covid-19
    (2022) Echarri-Iribarren, F. (Fernando)
    El contexto social que ha generado la pandemia Covid-19 está caracterizado por la aparición de situaciones continuadas de sufrimiento personal, miedo y aislamiento que pueden generar diversos grados de estrés, angustia y estados de ánimo negativos que repercuten en una disminución del bienestar de las personas. Frente a esta situación, los diferentes equipamientos sociales necesitan responder, con una perspectiva de ayuda para las personas. Estos equipamientos, como los museos, pueden desempeñar un papel activo, constituyéndose en generadores de propuestas que ayuden a minimizar esta terrible situación. Los museos también pueden focalizarse en proporcionar más cuidado que redunde en la generación de bienestar en la población que desencadene una reducción del estrés y de la ansiedad. El Museo Universidad de Navarra, consciente de la gravedad de la pandemia y del papel que el arte puede desempeñar para paliar sus consecuencias, dando así un servicio a la comunidad, ha creado un programa específico con la intención de proporcionar cuidado, bienestar y reducción del estrés: el programa QuidArte. Con esta intención se ha programado un amplio abanico de propuestas artísticas: conciertos, espectáculos de danza, teatro, talleres y conferencias que utilizan, de forma interdisciplinar y creativa, tanto las artes plásticas como las artes escénicas.
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    Tribute to Bach (1956): approximation to the Oteizian mural emptiness as a silent music score
    (2020) Echarri-Iribarren, F. (Fernando); Varela, E. (Emilio)
    The artist Jorge Oteiza (Orio, Spain, 1908-2003) is considered one of the main sculptors of the 20th century. Jorge Oteiza won the International Sculpture Prize at the IV São Paulo Biennial, held in 1957, which elevated him internationally. Oteiza's conceptual evolution as a sculptor moves him towards a special relationship with the unoccupied space, the void, seeking a metaphysics of space through absence or negativity, where light also plays a prominent role, being incorporated into the sculptural process. These ideas are concretized in the negative relief mural that he calls Direct Relief / Homage to Bach (1956). This exceptional work from the limited production of his mural works provides an interesting field of study that helps complete the understanding of his thinking and the keys to his aesthetics. Nevertheless, this work is not only close to a plastic-spatial dimension. The work also conveys the special relationship of the Oriotarra sculptor with music in general and Baroque in particular and his concern for serialist avant-garde music and its possibility of plastic representation. The present article tries to make an approach to the interpretation of this work, studying in an analytical and synthetic way the artistic, musical and plastic thought of the artist.