{"id":922,"date":"2024-09-13T11:37:19","date_gmt":"2024-09-13T11:37:19","guid":{"rendered":"https:\/\/blog.uclm.es\/artea\/?p=922"},"modified":"2025-07-24T11:21:04","modified_gmt":"2025-07-24T11:21:04","slug":"eclar","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/artea\/2024\/09\/13\/eclar\/","title":{"rendered":"ECLAR. Comunidad experimental de investigaci\u00f3n en artes vivas"},"content":{"rendered":"\n

ECLAR. 2024-2028<\/h3>\n\n\n\n
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Comunidad experimental de investigaci\u00f3n en artes vivas: creaci\u00f3n, intervenci\u00f3n, genealog\u00eda<\/strong> <\/p>\n\n\n\n

Proyecto de investigaci\u00f3n coordinado<\/p>\n\n\n\n

SP 1: Artes Vivas y Pr\u00e1cticas Expandidas de Investigaci\u00f3n-Creaci\u00f3n: experimentalidad y genealog\u00eda<\/strong>. (EXPERIMENTA<\/a>)<\/strong><\/p>\n\n\n\n

IP: Jos\u00e9 A. S\u00e1nchez. Universidad de Castilla-La Mancha.<\/p>\n\n\n\n

SP2: Artes vivas e intervenci\u00f3n cr\u00edtica en las arquitecturas del tiempo libre<\/strong>. (ARQUILIB)<\/strong><\/p>\n\n\n\n

IP: Fernando Quesada. Universidad de Alcal\u00e1.<\/p>\n\n\n\n

ECLAR. Resumen <\/strong><\/p>\n\n\n\n

Este proyecto plantea la creaci\u00f3n de un marco y una comunidad de investigaci\u00f3n experimental para la producci\u00f3n art\u00edstica, la elaboraci\u00f3n de metodolog\u00edas de investigaci\u00f3n-creaci\u00f3n y el estudio geneal\u00f3gico de pr\u00e1cticas experimentales en el \u00e1mbito de las artes vivas y otras pr\u00e1cticas art\u00edsticas expandidas, con especial atenci\u00f3n a la escritura experimental, el paracinema, el site specific y la arquitectura del ocio. Los t\u00e9rminos artes vivas y pr\u00e1cticas expandidas remiten tanto a una fluidez disciplinar (incorporando lo inter- y lo trans-disciplinar) como a una disoluci\u00f3n de l\u00edmites (flexibilizados en la teor\u00eda, pero a\u00fan r\u00edgidos en la pr\u00e1ctica y en los estudios acad\u00e9micos) entre un arte inscrito en el \u00e1mbito de la alta cultura y multitud de pr\u00e1cticas que originariamente no responden al concepto moderno de arte.<\/p>\n\n\n\n

EXPERIMENTA<\/a><\/strong><\/strong> (Subproyecto 1) prioriza el trabajo en las metodolog\u00edas de investigaci\u00f3n-creaci\u00f3n. Propone la organizaci\u00f3n de una comunidad experimental con una sede f\u00edsica en Cuenca y sedes itinerantes vinculadas a los espacios de trabajo de los integrantes del equipo, as\u00ed como a otros espacios con los que se mantendr\u00e1n colaboraciones de investigaci\u00f3n-creaci\u00f3n. Se articula mediante la creaci\u00f3n de tres laboratorios de artes vivas, con \u00e9nfasis en tres formatos: cine expandido y anal\u00f3gico, escritura expandida y oralidad, site specific y ruralidad. Estos tres laboratorios generar\u00e1n proyectos de creaci\u00f3n, talleres de experimentaci\u00f3n y propuestas metodol\u00f3gicas. Se conciben como espacios permeables y se trabajar\u00e1 activamente para conseguir transferencias y colaboraciones. En paralelo, se articular\u00e1 un grupo de estudios, con una dedicaci\u00f3n prioritaria hacia el establecimiento de marcos te\u00f3ricos y propuestas de genealog\u00eda.<\/em><\/p>\n\n\n\n

ARQUILIB<\/strong> (Subproyecto 2) propone un marco concreto, persiguiendo la realizaci\u00f3n de un trabajo coral de investigaci\u00f3n-creaci\u00f3n alrededor de un contexto geogr\u00e1fico, tem\u00e1tico y social que gira alrededor de la dial\u00e9ctica entre la destrucci\u00f3n del litoral espa\u00f1ol y la creaci\u00f3n simult\u00e1nea de un imaginario espec\u00edfico de ese proceso.Las pr\u00e1cticas implicadas aqu\u00ed son la arquitectura, las artes visuales, la etnograf\u00eda de lo cotidiano, la som\u00e1tica y las artes vivas, a partir de un estudio geneal\u00f3gico de los procesos de destrucci\u00f3n del litoral espa\u00f1ol provocados, mayormente, por la arquitectura del turismo de sol y playa, el paradigma del tiempo libre de las masas. Sin embargo, esta genealog\u00eda de la destrucci\u00f3n discurri\u00f3 en paralelo junto a otra de creaci\u00f3n de imaginarios.<\/p>\n\n\n\n

Defendemos la potencia de la pr\u00e1ctica art\u00edstica (esc\u00e9nica, cinematogr\u00e1fica, literaria, visual y conceptual) y de los m\u00e9todos experimentales para producir conocimiento en el \u00e1mbito de la investigaci\u00f3n-creaci\u00f3n y sus metodolog\u00edas. La experimentalidad actual es una experimentalidad situada, nutrida por el pensamiento feminista, el ecologismo y los nuevos materialismos. Puede darse como una experimentaci\u00f3n de g\u00e9nero, de modos de comunicaci\u00f3n y articulaci\u00f3n de comunidades o de inscripci\u00f3n en ecosistemas en los que se ensayan nuevas relaciones entre las subjetividades humanas, la vida y la materia.<\/p>\n\n\n\n

Pero el hacer del presente y su comprensi\u00f3n s\u00f3lo son posibles en relaci\u00f3n con otros presentes que ahora consideramos pasado. En la recuperaci\u00f3n de esos presentes pasados recurriremos a un m\u00e9todo geneal\u00f3gico, coherente con la centralidad de la idea de vida, que define el marco de esta investigaci\u00f3n. Y ensayaremos formatos no exclusivamente textuales: diagrm\u00e1ticos, orales, visuales o performativos. Hacer presente el pasado mediante estas genealog\u00edas puede ser tambi\u00e9n otro modo de pr\u00e1ctica experimental.<\/p>\n<\/div>\n\n\n\n

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Experimental community for living arts research: creation, intervention, genealogy<\/strong> <\/p>\n\n\n\n

Coordinated Research Project<\/p>\n\n\n\n

SP1: Live Arts and Expanded Practices for artistic research: experiment and genealogy (EXPERIMENTA<\/a>)<\/strong><\/p>\n\n\n\n

IP: Jos\u00e9 A. S\u00e1nchez. University of Castilla-La Mancha.<\/p>\n\n\n\n

SP2: L<\/strong>ive Art and Critical Intervention in Leisure Arquitectures<\/b><\/span>\u00a0(ARQUILIB)\u00a0<\/strong><\/p>\n\n\n\n

IP: Fernando Quesada. University of Alcal\u00e1.<\/p>\n\n\n\n

ECLAR: Abstract:<\/strong><\/p>\n\n\n\n

This project proposes the creation of a framework and a community of experimental research for artistic production, the development of research-creation methodologies and the genealogical study of experimental practices in the field of the living arts and other expanded artistic practices, with special attention to experimental writing, paracinema, site specific and leisure architecture.<\/em><\/p>\n\n\n\n

The terms artes vivas (living arts) and expanded practices refer both to a disciplinary fluidity (incorporating the inter- and trans-disciplinary) and to a dissolution of boundaries (made more flexible in theory, but still rigid in practice and academic studies) between an art inscribed in the realm of high culture and a multitude of practices that do not originally correspond to the \u00abmodern\u00bb concept of art.<\/p>\n\n\n\n

EXPERIMENTA<\/strong> <\/a>(Subproject 1) prioritises work on practice-based research methodologies. It proposes the organisation of an experimental community with a physical headquarters in Cuenca and itinerant venues linked to the work spaces of the team members, as well as to other spaces with which research-creation collaborations will be maintained. It is articulated through the creation of three laboratories, with emphasis on three formats: 1) expanded cinema, 2) expanded writing, 3) site specific and rurality. These three laboratories will generate creative projects, experimental workshops and methodological proposals. They are conceived as permeable spaces and will work actively to achieve transfers and collaborations. In parallel, a study group will be articulated, with a priority focus on the establishment of theoretical frameworks and studies on genealogy of contemporary artistic practices.<\/p>\n\n\n\n

ARQUILIB<\/strong> (Subproject 2) proposes a concrete framework, pursuing the realisation of a choral work of research-creation around a geographical, thematic and social context that revolves around the dialectic between the destruction of the Spanish coastline and the simultaneous creation of a specific imaginary of this process. The practices involved here are architecture, the visual arts, the ethnography of the everyday, somatics and the living arts, based on a genealogical study of the processes of destruction of the Spanish coastline caused mainly by the architecture of sun and beach tourism, the paradigm of free time for the masses. However, this genealogy of destruction ran parallel to another of the creation of imaginaries.<\/p>\n\n\n\n

We defend the power of artistic practice (scenic, cinematographic, literary, visual and conceptual) and experimental methods to produce knowledge in the field of research-creation and its methodologies. Today’s experimentality is a situated experimentality, nourished by feminist thought, environmentalism and new materialisms. It can take the form of experimentation with gender, modes of communication and the articulation of communities, or of inscription in ecosystems in which new relations between human subjectivities, life and matter are tested.<\/em><\/p>\n\n\n\n

But the making of the present and its understanding are only possible in relation to other presents that we now consider the past. In the recovery of these past presents we will resort to a genealogical method, coherent with the centrality of the idea of \u00ablife\u00bb, which defines the framework of this research. And we will try out formats that are not exclusively textual: diagrammatic, oral, visual or performative. Making the past present through these genealogies may also be another mode of experimental practice<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Leer memoria completa \/ Read compete project (English)<\/a><\/div>\n<\/div>\n\n\n\n

<\/a><\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

2024-2028. Este proyecto plantea la creaci\u00f3n de un marco y una comunidad de investigaci\u00f3n experimental para la producci\u00f3n art\u00edstica, la elaboraci\u00f3n de metodolog\u00edas de investigaci\u00f3n-creaci\u00f3n y el estudio geneal\u00f3gico de pr\u00e1cticas experimentales en el \u00e1mbito de las artes vivas y otras pr\u00e1cticas art\u00edsticas expandidas, con especial atenci\u00f3n a la escritura experimental, el paracinema, el site specific y la arquitectura del ocio<\/p>\n","protected":false},"author":285,"featured_media":2649,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[38],"tags":[32,104],"class_list":["post-922","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-proyectos_id","tag-artes-vivas","tag-comunidad"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/posts\/922","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/comments?post=922"}],"version-history":[{"count":12,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/posts\/922\/revisions"}],"predecessor-version":[{"id":3382,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/posts\/922\/revisions\/3382"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/media\/2649"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/media?parent=922"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/categories?post=922"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/artea\/wp-json\/wp\/v2\/tags?post=922"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}