Desde el año 2018 Calle14 decidió como política editorial no realizar convocatorias temáticas. Como consecuencia, cada seis meses las contribuciones heterogéneas de los autores hacen posible configurar un corpus de artículos diferenciado de los anteriores. Y lo más interesante de estaperspectiva editorial es que cada nuevo número de la revista es una especie de estado de la cuestión de los debates acerca de la investigación-creación desde y en el Sur Global.
Dissemination is a fundamental part of scientific work and is increasingly valued and expected. Technologies and new forms of communication through social networks demand constant updating in various fields, from computer science to language, without neglecting the conceptual and how to make something appealing without losing scientific rigor. In this context, dissemination the field of art history faces a challenge, not only in the academic space, but also in museums. The possibilities of communicating scientific research in the museum and artistic sphere are also linked to the dissemination of the processes of conservation and restoration of works of art. Therefore, knowing how to communicate science beyond the academic sphere has become challenge for university staff. This text will offer a reflection on this subject and the analysis of specific cases carried out by the authors in the university environment.
This critical commentary on Miguel Torres's El crimen del siglo is framed within a research-creation strategy that articulates two narrative voices: one analytical and the other fictional. Through this duality, the author examines the figure of Juan Roa Sierra, the alleged assassin of Jorge Eli & eacute;cer Gait & aacute;n, from an intrahistorical perspective that subverts the official narrative. The analysis highlights how the novel employs an omniscient heterodiegetic narrator who, by fictionalizing the figure of the historian, questions the objectivity of historical discourse. Simultaneously, a homodiegetic voice emerges as an emotional and reflective counterpoint, embodying the subjectivity of the researcher projected onto the character. This narrative polyphony enables a critical reconstruction of El Bogotazo, focused on marginalization, mental illness, and the despair of Juan Roa Sierra. Torres's novel, along with the accompanying commentary, does not aim to solve the crime but rather to open new questions about truth, justice, and collective memory. Thus, literature becomes a means to interrogate the silences of history and give voice to those who have been excluded.
Contemporary art has explored multiple ways of addressing the prospect of the end of the world in the aftermath of the Covid-19 pandemic. This article examines changes in artistic production processes in Guayaquil, Ecuador-a city that serves as a case study for understanding the challenges and difficulties of creating on the periphery during the pandemic. It analyzes how artists redefined their creative practices and how this reconfiguration has shaped the visual arts scene. The study draws on 20 interviews with artists, curators, and art experts residing in this city. The findings indicate that the pandemic generated new dynamics of production, circulation, and consumption, promoting artistic practices marked by precariousness and intensified mimeticism.
This paper considers drawing as a generator of images positioned between the need to establish connections with reality through representation and the impulse to imagine -that is, between what is known and what is desired. Within this framework, time is approached as an inherent element of drawing practice. It is through the act of drawing that its presence, functions, and emotional as well as meaningful consequences are defined, shaping its relationship with the viewer while also emerging as a recurring theme within the medium itself. Drawing on the ideas of authors such as Didi-Huberman and Eugenio Trias, the study examines factors that intervene in the close relationship between time and drawing, proposing a classification into two dimensions that encompass both traditional and contemporary practices: the narrative and the symbolic. In addition, it highlights certain features of formalization and visualization.
