Prácticas artísticas contemporáneas Epistemología, proyecto y creación

·1 hr 1 min·5 clips

Artist Liliana Angulo Cortés explores the political meanings of the word 'negro' through sculpture and photography.

1. Las Voces del Libro, Universidad del Rosario's editorial podcast hosted by Luis Izquierdo with co-panelists Ana García and Luna Girón, discusses Prácticas Artísticas Contemporáneas: Epistemología, Proyecto y Creación by professor Augusto Solórzano. 2. The episode opens unusually with the recorded voice of Afro-Colombian artist Liliana Angulo Cortés, who died on February 21, speaking about her sculpture project 'Un Negro es un Negro,' described as a multi-year investigation into the political meanings of the word 'negro.' 3. Solórzano's book addresses why art schools have historically failed to theorize the creative process itself, assuming students arrive pre-equipped with creativity rather than recognizing it as something that must be learned and unlearned. 4. He traces the question back to his own training at Universidad Nacional de Bogotá, where he experienced a generational collision between teachers anchored in fine-arts tradition and newer faculty bringing discursive and conceptual frameworks. 5. Solórzano defines research-creation (investigación-creación) as a framework that has gained traction over the past 20 to 30 years as art began demanding recognition as a form of knowledge distinct from natural or social sciences. 6. He distinguishes this from simple research in art: the term 'investigación-creación' specifically names the creative component to demonstrate that artistic research is not merely analytical but generative. 7. Solórzano argues that research-creation is not a methodology but an ideology — a framework of ideas that each practitioner must inhabit and test through their own experiential path. 8. The concept of unlearning (desaprendizaje) is central to his framework: genuine creative learning requires questioning assumptions and dismantling prior conditioning rather than accumulating technique. 9. He describes an 'experimental epistemology' in art — one grounded in trial, error, and embodied knowledge, in contrast to the demonstrative logic of classical epistemology. 10. Solórzano invokes Gilles Deleuze's concept of percepts, derived from Antonin Artaud's body-without-organs theory, as a philosophical resource for understanding how perceptions can be incorporated and thought through the body in artistic practice. 11. He argues that art's potential lies precisely in its permanent disaccommodation — the fact that no artist's solution is replicable — which prevents art from ever becoming stagnant or ankylosed. 12. Ana García describes her own experience of encountering research-creation methodology as initially confusing because she had been trained in rigid, closed methodologies; she finds the book a legitimizing resource. 13. Ana recommends Erin Manning's Proposiciones para la Investigación-Creación as a complementary text arguing that creative processes happen not before or after creation but within and through it. 14. Luna Girón recommends Creación, Investigación y Arte (2021) by Lady Joana Albarracín, Pedro Alexander Sosa, and William Elias Arciena, published by Universidad Pedagógica y Tecnológica de Colombia, which approaches the concept from a specifically Colombian context. 15. Producer Diego Garzón recommends Ellas Ilustran Botánica, a book and exhibition that traces the overlooked contributions of women botanists and illustrators from the seventeenth century to the present, presented at Spain's Arco Colombia 2015. 16. Host Izquierdo describes Liliana Angulo Cortés's 2015 residency project at El Matadero in Madrid, where she researched the General Archive of the Indies and found that José Celestino Mutis's family had ties to the purchase of enslaved people as part of the same extractivist operations as the celebrated botanical expedition. 17. Izquierdo notes that Angulo Cortés was director of the National Museum of Colombia and oversaw the creation of the Afro Museum, which continues as a project of the museum after her death. 18. The episode has a reflective and academic tone, framed as both a book launch and a memorial; Solórzano speaks with careful conceptual precision and the hosts occasionally share their own artistic research experiences. 19. Listeners who teach or study art, design, or creative disciplines and are grappling with how to legitimize creative processes in academic contexts will find Solórzano's framework directly useful. 20. Those seeking practical studio techniques or unfamiliar with Spanish-language academic discourse in the arts will find the conceptual density of this episode demanding.

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