Artes Visuales

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Browsing Artes Visuales by Author "Amoroso Peralta, Silvana Mireya"

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    Narrativa visual desde lo autoetnográfico sobre la normalización del sufrimiento psicoemocional vinculado a la depresión
    (Universidad de Cuenca. Facultad de Artes, 2026-03-06) Juma Viteri, Paula Fernanda; Amoroso Peralta, Silvana Mireya
    Global society has normalized the psycho-emotional suffering associated with depression: a condition that is often neglected and invisible to society. This phenomenon reflects a serious crisis of empathy. Emotional pain is met with silence, guilt, or indifference. The project is based on an autoethnographic experience in this regard and seeks to explore, through visual language and autoethnographic experience, the psycho-emotional suffering associated with depression in relation to its social normalization. The work is configured as an intimate space of representation where the body and the face become symbolic territories of discomfort. The proposal is made up of a structure that functions as the body of the work and houses three pieces, which articulate a visual narrative around different states of the self: the suffering body, the collective gaze that observes with indifference, and, finally, the fragmentation of the self in the face of social apathy. The installation is complemented by a photographic record that documents and expands the exhibition experience of the work. The aesthetic experience is based on an expressionist affiliation. The proposal aims to generate empathetic discomfort and confront the viewer with the rawness of internal pain, inviting them to reflect on what society prefers not to look at in order to avoid feeling.
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    Propuesta visual contemporánea para el fortalecimiento de la identidad social de la cultura Drag en Cuenca
    (Universidad de Cuenca, 2024-03-12) Matute Cabrera, Guillermo Enrique; Amoroso Peralta, Silvana Mireya
    Being a Drag Queen does not just mean dressing up and exaggerating femininity: it is the representation of women from another original identity. In Cuenca (Ecuador) this community is still not that strong, because even LGBTQ+ members like them do not know of its existence. Hence, we proposed to contribute to the strengthening of the social identity of Drag culture in Cuenca through an anthropologically based contemporary visual artistic proposal. Thus, after an immersion of the artist in the social collective - completely similar to the most classic ethnographic approaches - it was possible to provide a proposal that helps the identity representation of the Drag community and those who represent it, with the development of a process in three phases: the first of them shows stereotypical makeup of what is thought of as a Drag Queen; the second, the male face base of the representation; and the third, the human traits common to all. In this way, an aesthetic experience is fostered through experiential simulation and translation of characters as a symbol and game, for the recognition and integration of Drag into a notion of Cuenca culture in construction and updating.
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    Re-existencias: Residencia Artística en Colaboración con Guardianas de Saberes Ancestrales en Azuay
    (Universidad de Cuenca, 2025-07-22) Guamán Chocho, Erika Catalina; Amoroso Peralta, Silvana Mireya
    This degree project proposes the creation of an artistic residency; based on the analysis of theoretical studies that contribute to the reflection on decoloniality, re-existences and collaborative and intercultural artistic practices, with the intention of promoting the production of visual poetics in co-authorship of women healers and emerging artists. The artistic residency format was developed in a hybrid way; that is, in the territory the resident artists had the opportunity to coexist with the women healers in their communities and workplaces, and through virtual sessions they dialogued and received suggestions from recognized cultural actors with long and medium trajectory in community management processes and collaborative artistic practices. After the residency, the artists continued visiting the women healers to build together, visual poetics that dialogue about their context, based on participatory action methodologies. Finally, an exhibition of the results of the process was organized in conjunction with an intercultural knowledge fair with the Jatari Warmi Association, in the Archaeological and Ethnobotanical Park of the Pumapungo Museum.
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    Reflexión crítico-artística sobre la instrumentalización y estigmatización de los animales en prácticas ancestrales de la comunidad de Babarcote-Biblián
    (Universidad de Cuenca. Facultad de Artes, 2026-03-12) Orozco Chabla, Kevin Alexander; Amoroso Peralta, Silvana Mireya
    The use of animals as resources for healing or protection remains prevalent in various cultural practices around the world. In the Ecuadorian context, these practices reveal internal tensions within the communities that sustain them, particularly between the preservation of ancestral knowledge and the ethical, social, and psychological implications derived from its exercise, which are transmitted intergenerationally. Within this framework, the research-creation generates a contemporary visual critical reflection on the instrumentalization and stigmatization of animals in ancestral practices of the Babarcote community (Biblián), through a surrealist work. The work is based on the analysis of theoretical references, the compilation of ethnographic testimonies, and their symbolic reinterpretation. The result is a surrealist triptych entitled Kan wañuy kanki in which the dog, the guinea pig, and the bull symbolize, respectively, home, health, and tradition. Through a dreamlike logic, the deformation of bodies and the construction of symbolic scenarios visually translate the conflict between pain and memory, revealing bodies that are wounded so that others may heal. Through an aesthetic experience marked by discomfort and doubt, the work invites reflection on the blurred line between ritual, belief, and inherited violence as a form of knowledge.
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    Tratamiento del fanzine mediante arte relacional, para el fortalecimiento cultural en mercados del Azuay
    (Universidad de Cuenca, 2024-03-19) Hernández Agreda, Milton Rubén; Amoroso Peralta, Silvana Mireya
    In today's Ecuador, educational insufficiencies limit the full artistic and cultural enjoyment of children and adolescents. Complementary and supportive actions from extra-academic contexts would be appropriate, then. To this end, the work Memories of the market aims to strengthen the culture of children familiarly linked to the markets of Azuay, through the visual resource of the fanzine, with a view to enhancing the creative and educational aesthetic experience, thus representing a tool for growth. human. To achieve this, a contemporary installation and relational visual proposal is used, which allows the viewer to inhabit a space surrounded by fanzines that visually and literary narrate diverse personal experiences and in different styles. The work conditions immersion in a penetrable structure of hanging fanzines, which develop both the history of the fanzine itself and its context in this work, as well as the narratives lived in the markets. The environment is enriched by video projection and sound ambience, coming from previous experimentation in workshops with other participants who left their creative mark on those fanzines, which conditions an immersive aesthetic experience, of empathetic connection between the reality of the current viewer. and other previous ones, as an exercise in artistic, recreational and didactic continuity