Artes Visuales-Pregrado

Permanent URI for this collectionhttps://dspace-test.ucuenca.edu.ec/handle/123456789/309

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Abordaje visual contemporáneo de conductas excesivamente autocríticas, desde una actualización del tratamiento estético de lo cómico
(Universidad de Cuenca, 2024-03-07) Brito Correa, Carlos Daniel; Ordóñez Carpio, Santiago
Currently, criticism influences how people seek to meet social expectations to obtain approval, leading to negative self-criticism that motivates behaviors aimed at achieving social validation, showing an empathetic facet and adjusting to the norms expected by others. This process involves canceling less accepted aspects similar to cruelty or antipathy that we prefer to hide, and the prevailing need for conformity and approval can lead us to lose authenticity and underestimate genuine aspects of personality. Faced with this situation, We set out to address this excessively self-critical human behavior, through an update of the aesthetic approach to the comic and the grotesque, with a surrealist visual work. Human duality was expressed through three paintings and a mirror. The abstract female figure (main) symbolizes the total acceptance of imperfections, openly displaying her "pure" and "corrupt" facets, while her counterparts hide their "cruel and unfriendly" side behind her, showing only their pertinent and empathetic side. This highlights the idea of accepting our duality with its imperfections and that this intrinsically dark reality is undeniable and impossible to disguise or hide. This representation symbolizes the need to recognize that, when contemplating ourselves in the mirror, we face both our bright and dark facets and only those who have accepted both facets in their being will shine, highlighting the importance of integration and acceptance of complexities. that make up human beings.
Actualización estilística de las características de la pobreza en la historia del arte basado en las secuelas del Covid-19
(Universidad de Cuenca, 2023-03-01) Coronel Arias, Jonathan Fernando; Cadme Galabay, Fanny Guadalupe
The present curricular integration work entitled: Stylistic update of the characteristics of poverty in the history of art based on the aftermath of Covid-19. It is an analytical exegesis carried out on the pictorial work produced with the aim of making representations that update the theme of poverty with experiences of the Covid-19 pandemic in the history of art, through the technical-stylistic resources of expressionism. For this purpose, an analysis of the processes, characters, and pictorial techniques involved in the production of this work was carried out. Methodologically it is an exercise of "Research-creation" which continues with a qualitative paradigm and descriptive scope. Complementing itself with the museography carried out for its exhibition helps to bring this series of paintings to the level of expanded painting.
La aculturación Shuar en el arte contemporáneo obra instalativa de chontacuros
(2018-05-04) Avila Sarate, Kateryn Janira; Washco Castro, Adrián Efrén; Guzmán Galarza, Manuel Geovanny
The present title work aims to investigate the elements that characterize the Shuar culture and its current state to settle a problem produced by the processes of acculturation in the province of Morona Santiago, with the result of an installation using the chontacuro worm. Where the individual is more than a collective, it is essential to speak and write to record the current cultural presence, the problems that encompass it and the consequences of a nation, collectives, people without culture. In order to understand the current state of the Shuar and its cultural identity, it is necessary to stop and look at the peoples of the Amazon and it is enough to observe around us in order to have an idea of the problem posed in this work of titling. Art as a means of expression has been a way of generating and removing conscience in the face of social and cultural problems.
Alegoría de la globalización en propuesta mural contemporánea, desde la visión de un estado plurinacional e intercultural vulnerable
(Universidad de Cuenca, 2025-03-12) Coronel Ayala, Marco Antonio; Pañora Chacha, Juan Carlos
Globalization is the distinctive phenomenon of the historical times in which we live. The most authentic cultural practices of nations with strong ancestral traditions are particularly affected and even threatened with disappearance, due to their impossibility to compete with the laws of a market that standardizes, unifies, resembles and increasingly deprives the signs of identity. Thus, we proposed to build an allegory of globalization as a contemporary visual proposal for a social awareness of the dangers it represents in a plurinational and intercultural country like Ecuador. The contributed mural work develops a variety of symbols and visual metaphors allusive to the phenomenon, among which stands out the great octopus that represents Globalization, whose tentacles, while interconnecting places, people and cultural practices in the same way that the networks bring us closer even at a distance, squeeze and suffocate them in a clear allusion to the unfair competition that generates an ever widening gap between rich and poor, and that annihilates many of our best traditions. The spectator is thus provoked in search of an aesthetic experience in favor of awareness and the safeguarding of our values, through the practice of a whole culture of resistance in these times.
Alma: trashumante de cuerpos, propuesta plástica
(2002) Vázquez Neira, Paola; Alvarez Serrano, Guido
Almas no tan inocentes
(2010) Zhinin González, José Luis; López Zamora, Jorge Daniel
Análisis de la mitología Shuar para la generación de ilustraciones de sus dioses y demonios
(2017) León Segovía, Daniela Lucía; Rodas López, Fabiola Virginia
This tesis proyect aims to contribute graphycally to the mythology of the Shuar culture and consequently to the Ecuadorian pluriculturality; by proposing a series of illustrated characters of their deities and demons, described in their myths. Based on a copillation of oral information, obtained from the elder population, that keep its traditions. As well as books and investigations, that achieved to collect these stories from their mother tongue. A selection of five deities and a lineage of demons represented by Iwia. Anciently this knowledge was transmitted orally from generation to generation. With the main goal to recognizing and give more value to the ancestral knowledge and practices. The author was motivated to carry out a series of investigations and interviews in different sectors, habited by the Shuar elders. By obtaining information from the native population, as an inspiration for the process of the illustrated work and written. Always with the intention of continuing to strengthen the pluricultural memory of Ecuador.
Análisis del contexto social en la creación artística contemporánea del Ecuador en el período 2005-2012: Bienal Internacional de Cuenca, sala proceso y producción de la obra artística Lluvia
(2014) Guerrero Solis, Darwin Xavier; Minchalo Muñoz, Dani Fabian; Washco Castro, Adrián Efrén
In this thesis, the social context of contemporary artistic production Ecuador is analyzed through studies of global, national and Latin American aesthetic references, and the production of contemporary art from several Ecuadorian artists who participated in the Bienal de Cuenca and Sala Proceso from 2005 through 2012. Sociological study of facts and important events in the history and artistic partner of Ecuador is made today. A historical approach to the sociology of art, public space, community and collective memory arises. As a result of the investigation there was a book called Lluvia installative to achieve financing and staging a cultural management strategy, involving public and private institutions in the city of Cuenca was handled.
Anáslis histórico de obras
(1988) Córdova de Astudillo, María del Carmen; Arévalo, Víctor
Ancestral: aplicación de gráfica precolombina de la cultura Cuasmal en Tipografía
(Universidad de Cuenca, 2021-04-05) Mayancela Mayancela, Juan Carlos; Torres Díaz, Esteban Teodoro
Typography is a powerful graphic medium that will serve to change the visual global influence that is detracting from the value and importance of our cultural products. Through this project we seek to rescue the pre-Columbian graph, apply it within the technical and conceptual considerations that must be taken into account for the construction of a typeface representing our native cultures of Ecuador. There is a high foreign influence present in the graphic creation products presented in each of the business models dedicated to satisfying the need for visual and corporate identity in the country, be it these agencies, studies and professionals dedicated to this service, relegating to the background the very rich cultural values that our ancestors inherited from us , are only found in sporadic projects by enthusiastic designers, who have the always difficult task of competing with the large visual industries that prioritize the commercial value of visual creations. "Ancestral" is a graphical system extracted from the most representative graphical constants of Cuasmal culture, applied in the design of a font. With we seek to revalue the ancestral visual legacies provided by our Pre-Columbian cultures.
El ángel con sus mil cachos y el diablo con su capa de oro: obra participante en la VIII Bienal de Cuenca
Alvarado, Carolina; Andrade, Gabriela; Bernal, Gabriela; Ortega, Juan Fernando; Vega, Bernardo; Mosquera Vallejo, Julio César
Anima
(2017) Guzmán Guzmán, Luis Armando; Álvarez Palomeque, Julio Efraín
ÁnimA favors the reflexive through the use of the image, in which the idea-form consolidation is sought. Through the drawing are created figures that investigate the mystical aspect of being in a timeless environment in which silence, emptiness and fantasy prevail to represent our interiority making use of resources such as corporal hieratism, reflection and transparency.
Animales descartables: (play the game)
(2002) Pacurucu Cárdenas, Hernán; Mosquera Vallejo, Julio César
Animals Parts, uso y des-uso en el reino animal
(Universidad de Cuenca, 2023-12-11) Chalco García, Belén María; Novillo Mora, Angel Gustavo
“Animals parts uso y des-uso en el reino animal”, is a artistic production of art object. The production have been elaborated with common residues taken from animal waste used by human being all days for example bones, wool, feathers and scales with this elements make common objects. The concept of workarte was born as a response to man´s habit of using animals for his financial and pleasurable benefit. Bioethics and morality are the defiance in this artistic proposal just as publicity in the animal consumption market, the production aim to play a critical, metaphorical and satirical role in response to actually society in order to understand the subject from the point of view: animalist, philosophical and artistic.
“Anomia - Desechables” Creación de una serie pictórica sobre problemas sociales que afectan al mercado El Arenal “Feria Libre” mediante un lenguaje visual contemporáneo
(2018) González Guanoquiza, Christian Xavier; Alvarado Granda, Pablo Olmedo
In the present project, the development of the ANOMIA was investigated, taking as a basis of study the "El Arenal" market (Feria Libre), which arises as an aesthetic necessity for the pictorial representation of the chaotic reality existing in this sector. Nowadays, the deplorable conditions that exist in this place, are born in the marginal parts, due to the carelessness, the disorder and the breach of the norms; originated in the moment in which the links weaken and society loses its strength to integrate and regulate individuals, generating social phenomena such as: alcoholism and delinquency, which lead to an interruption with respect to the psychologically and sociologically acceptable. The creative process arose from deductive research and the synthesis of bibliographic - documentary material. After this an inductive and ethnographic exploration was developed, making in situ visits to the market; inquiring into the personal stories and ways of life of the alienated individuals. Finally, in the pictorial work, it reflects the characteristic urban characters and scenarios, trying to return a face-to-face function to the painting, detaching itself from its photographic reference.
Aplicaciones artísticas a elementos arquitectónicos contemporaneos
(1998) Torres, Cesar Bolivar; Mosquera Vallejo, Julio César
Apropiación contemporaneizada de la obra de Murillo para una concienciación sobre la continuidad de la vulnerabilidad infantil en el mundo
(Universidad de Cuenca, 2024-03-11) Escalante Solórzano, Lyan Anabelle; Arévalo Plasencia, José Luis
Currently, child vulnerability remains an unresolved scourge. Cuenca, a unique Ecuadorian city where signs of poverty or evidence of significant social disparity are scarcely perceptible urbanistically, is also an example of this problem. In this context, we set out to visually represent Cuenca's children in conditions of social vulnerability, through a contemporized appropriation of Niños jugando a los dados (ca. 1665-1675) by Esteban Bartolomé Murillo, to raise awareness about the unresolved issue of poverty after centuries of scientific and technological development. Thus, our work stems from exploration in the mercantile environments of Cuenca—places where this harsh reality is most evident—and the use of the baroque language of the Spanish artist used as a reference for addressing the theme. Three children are depicted, among many who even alternate work tasks, in moments of recreation with objects within their reach. From Murillo's work to the present, there are substantial changes in the environment: now, Cuenca's architecture is represented in its modern aspect, as a strategy to reposition the problem four centuries later. The works converge, however, in the appropriation of gestures, in the chromatics, and in the tenebrist effect, which are crucial. Everything is aimed at fostering an emotionally empathetic aesthetic experience that seeks to contribute to civic awareness for social transformation.
Apropiación estética de las Pinturas negras de Francisco de Goya y recontextualización gráfica durante la pandemia de 2020 en Ecuador
(Universidad de Cuenca, 2022-09-22) Fuela Valverde, Dario Román; Guzmán Galarza, Manuel Geovanny
The present work of digital painting, part of the research modality for creation, systematizing the modus operandi and the aesthetic elements that characterize the Black Paintings of the years (1819-1823) by Francisco de Goya (1746-1828), having as purpose its recontextualization in the Ecuadorian context of 2020. For this, an investigation of the tragic events generated during the COVID-19 pandemic. Will be carried out, information that will serve as the basis for the creation of a series of digital illustrations. Using the documented resources that exist around the reference artist.
Apropiación y contemporaneización de Las hilanderas o la fábula de Aracne desde la tradición del pueblo Saraguro, lo barroco y la estética contemporánea
(Universidad de Cuenca, 2023-03-18) Japón Lapo, Jonder Enmanuel; Rodas López, Fabiola Virginia
To think of the Baroque is to go back in time and place oneself in the majesty of its art. Today, with the new aesthetic practices and its relation with the new artistic concepts, it is used in contemporary art, to create a new perspective of the current art, therefore, with the present work we intend a suggestive approach to the work and the public. By means of the investigation creation, the tradition of spinning of the Saraguro culture is presented, through digital painting and collage, with elements that connote and evidence the survival of the cultural identity. That is why it is proposed to capture these characters from an artistic point of view, fleeing from merely artisanal concepts.
Aproximación autoetnográfica a la insatisfacción corporal a través de una instalación artística
(Universidad de Cuenca, 2025-03-07) Andrade Guerrero, Celeste Alegría; Ordóñez Carpio, Santiago
Through autoethnography, this work addresses body dissatisfaction through an artistic installation, which requires recognizing one's own insecurities and seeking reconciliation with the body. The goal is for the viewer to reflect on their relationship with their body and their appreciation of beauty. The creative process, in turn, includes several stages. The personal experience of confronting the body was documented through an autoethnographic journal. Simultaneously, a nude photo session was conducted, showcasing body insecurities, and the selected images were transformed into embroidery, which is then placed on fabric in front of a broken mirror. The installation consists of the journal, the embroidery, a bed, the mirror, and a bedside table. As for artistic references, the work draws on the work of Polett Zapata, Adriana Varejão, Virginia Sosa Santos, Kathrin Marchenko, and Sally Hewitt—artists who explore the body and the perception of beauty in different ways. The theoretical framework of this project is grounded in Umberto Eco's The History of Beauty (2004) and The History of Ugliness (2006), Sigmund Freud's The Ego and the Id (1923), Zygmunt Bauman's Liquid Modernity (1999), and Bolívar Echeverría's The Modernity of the Baroque (1998).

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