InterArtive is an open platform for dialogue that attempts to bring together different theoretical and practical fields of criticism and reflection on contemporary art and thought. Developed from an academic context, but emerging from a need to reach beyond it and to establish links with the artistic production, InterArtive functions as an online monthly journal and as a cultural association that carries out projects off-line. The diverse backgrounds and areas of expertise of its members and colleagues have oriented the project towards interdisciplinarity and interculturality. Thus, from its founding in 2008, it has become a point of encounter and dissemination of art, thought and contemporary culture for a broad, diverse and international public, taking advantage of the dynamism and accessibility provided by the Internet.
TEXTS:
> Experimental and ephemeral proposals in contemporary art: what is the original? | PAULA LUERSEN
> Appropriations between art and design in Laura Lima and Rico Lins | DANIELA SOUTO RESING
>Virtual Museums and Digital Images Reproduced Content: a Museal Paradox or a Contradiction? | SUZANNE BEER
> Un alegato a favor de la copia: la remezcla y la fotocopia como actitudes políticas |MARTA ÁLVAREZ GUILLÉN
> El recurso de la cita en la pintura de Dávila | GIANNINA TAPIA SOLÍS
> “Jacopo Miliani. Parrots”. Imágenes nuevas y encontradas | FEDERICA MATELLI
> La función-autor como gesto técnico| ALEJANDRA LÓPEZ GABRIELIDIS
> Cortar y pegar copias: Un ejercicio en hiperretórica a través de Google Books | BLANCA REGO CONSTELA
> La originalidad como problemática. Tácticas de proximidad al concepto en la cultura de la copia. | CARLES MÉNDEZ LLOPIS
> Los orígenes del apropiacionismo: postmodernidad y crítica | SOFÍA FERNÁNDEZ ÁLVAREZ
> La apropiación: una nueva definición de original y copia | ELOÍSA HERNÁNDEZ VIRAMONTES
> CITACIÓN, APROPRIACIÓN, SIMULACIÓN: la práctica pictórica de la década de 1980 y el repertorio de imágenes de la historia del arte | WAGNER JONASSON DA COSTA LIMA
> Copy As Creation: The Reversal of the Benjaminian Concept of Aura and the Aesthetics of the Accidental in Rachel Phillips // Madge Cameron’s Fixed | SOFÍA P. CALDEIRA
> ¿Por qué llamarlo Copia, si es Original? El arte de la Copia Original o del Original Múltiple como estrategia creativa | BEATRIZ ESCRIBANO BELMAR
> La Copia: Pasado y Presente. Una Aproximación Poliédrica al Fenómeno | SALOMÉ GUADALUPE INGELMO
> James Joyce, a Composer, Possibly Chinese | KRZYSZTOF BARTNICKI
> An Actress and a Girl: Dialoguing through Godot in emergent South African theatre | TRISTAN JACOBS
> The language of repetition | NATASHA CHUK
> Imágenes de imágenes |AYELÉN RODRIGUEZ
ONLINE EXHIBITION:
> Cláudio Trindade “cummings e.e. Express”
> Ulrike Biets “Roxy”
> Emilio Vavarella “An-Archiving Game”
> Stephan Groß “Private Property”
> Esmeralda Kosmatopoulos “What is mine is yours”
> David Suárez González “Monumento Vostell”
> Anastasis Stratakis “Fake fo’ Real… fo’ Fake… fo’ Real”
> Michael Fischerkeller “Appropriation for the Art of Politics”
> Thilo Droste “Thieving plagiarism”
> Domenico Barra “The Gifdrome”
> Can Sungu “Replaying Home”
> Joanna Bonder “Rope”
> Sebastián Tedesco “Richner”
> Bruno Dias Vieira “Séma Chéein”
> Edurne Herrán “Revisiting the history of art”
> Banu Colak “Compositions”
