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B ri nging th e exp eri en c e o f a n in c lu s iv e v is u a l ar tist

Inv i te d t o g i v e a ta lk o f th e 2n d version of t he “Week of Diversit y and In clu sio n ” in t h e H all A u la M ag n a IPES B las C añ as at t h e C a thol i c U n i v e r s ity S ilv a H en ríq u ez. Wednesday Oct ober 28, 2015. The exper ience in the life o f ar t, i t’s not eas y to k now the ar ti s ti c pr oj ec ts and educ ati onal wor ks which pr om ote the social i nc l us i on and equi ty w i th c ul tur al dev el opm ent. T he i m por tanc e about the pr oblem s of aesthetic s and ar t theor y, thi s i s w hy the ar t has c eas ed to be a s i m pl e object of social and cultur al pow er. It has suffer ed sever al er r o r s of the c ontem por ar y ar ti s ti c l anguage thr ough the aes theti c instr um ent, that is r esolved to b e the c onc eptual deter m i nati on of the s oc i al and i nc l us i v e ar t, that is, under stand and explain the w or k of ar t and ex per i enc e of ow n author s hi p. It r equi r es som e im por tance of the hum an bei ng. M any of them ar en’ t tr ai ned to r efl ec t and tal k of thos e conceptual objects. But nobody k now s i t an i nc l us i v e ar ti s t to i ntegr ate a new l ook at the cr eation. Wit h o u t i n c l u s i v e a rts ed u ca ti on ... we ar e Som e em er ging ar tists ar e ac c us tom ed to a v i s i on of ar t ow n of the ar ti s ti c hi s tor i ogr aphy, de a d IVa to a cer tain ar t histor y that too often w hi c h they l i m i ted a phi l os ophi c al atti tude of the w or k s , D i gi tal art | 20 11 which usually takes a classific ati on of c l i c hés , c onv enti ons and c om m on pl ac es , ac c or di ng t o t ime s , a g e s , s tyl e s, te ch n i qu e s, etc. In the opposite, the aesthetic isn’t the c l as s i fi c ati on or s equenc e i n the pur s ui t of ar t, but l i v e i t, un d e rs t a n d , i n t e rp ret an d en j oy i t hi s own expr essive language based on a di ffer ent v i ew of r eal i ty, at w hi c h they m i m i c that new gener ati on in t h e 2 1 s t c e n t ury. T h i s a e s t he ti c re vo l uti on d o e sn’t depend on the ar tists of a differ ent gener ati on, but that tr ans l ate the i ntel l ec tual and s oc i al co n c e p t i o n s o f a hi stori c mo men t. Ther efor e, the social, political and cultur al c hanges that don’ t r equi r e a di ffer ent w ay to fac e the so c ia l r e a l i t y. Wi tho u t a d o u b t, a rt and aesthetics as a new knowledge, effec ti v el y al l ow i ng w e ar e appr oac hi ng to under s tand the hu m a n b e i n g i n i tse l f a n d hi s e n vi ronm ent –in its m ultiple social, politica l and c ul tur al i m pl i c ati ons –. F r om the poi nt of v i ew ar ti s ti c f o r in c l u s i v e s o ci e ty, i t h a s rea l i ze d the aesthetic expr ession and cr eative m ani fes tati on. At the s am e ti m e, i t has been c ar r i ed one of t h e g re a t p r o b l e m s o f hu man be i ng s thr oughout its histor y of str uggle to li v e for the defens e of thei r r i ghts of per s ons w i th di s abi l i ti es .

Profile for Diego Bernaschina

Artistic dossier (en)  

Artistic dossier (en)  

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