Presentación

2025-12-31T13:06:25+00:00

El nuevo número de Revista Actos consolida una trayectoria de varios años donde la investigación guiada por la práctica y la reflexión sobre las artes ha sido el centro de su quehacer. Comprender a la creación artística como una forma de investigar el mundo que nos rodea es fundamental para imaginar y transformar la vida social a través de la visualidad, la música y/o el teatro. Bajo estos lineamientos, Revista Actos surge como un espacio de encuentro y reflexión al alero de la Facultad de Artes de la Universidad Academia de Humanismo Cristiano, cuyo foco en la creación situada y comprometida da vida al presente número.

Rehearsing what we call life

2025-12-31T13:00:03+00:00

This article is part of a doctoral research project that investigates artistic workshops developed in public health institutions in the province of Mendoza, Argentina. In particular, it analyses the experience of the theatre workshop implemented at the Provincial Comprehensive Adolescent Emergency Care Centre (CIPAU), a facility specialising in subjective emergencies for adolescents and young people in the province. The study aims to examine whether the activities carried out in this space can be understood as artistic practices, as well as to analyse the foundations and methods of their institutional implementation. The research adopts a qualitative approach, based on a case study that combines interviews, field notes and the systematisation of eight workshop sessions. The results show that the theatre workshop operates as another tool within the interdisciplinary approach promoted by National Mental Health Law No. 26,657. Far from focusing on the final artistic production, the focus is on the shared creative process, understood as a means of fostering bonds and unique forms of encounter between the participants. The workshop format is characterised by its flexibility and situated perspective, adapting to the desires, needs and possibilities of the young people who pass through the institution. It is concluded that the workshop constitutes a relational and collaborative artistic practice, capable of enabling other ways of addressing urgent issues and rehearsing possible ways of being with others through artistic creation.

De artesanas y curadoras: para un giro afectivo del patrimonio

2025-12-31T13:01:13+00:00

La curaduría ha devenido recientemente en nuestra región latinoamericana en el desplazamiento de una reflexión postcolonial a una reivindicación decolonial, con todas las implicancias epistémicas, metodológicas e ideológicas que su práctica ha desplegado en proyectos expositivos durante el primer cuarto del siglo XXI.

Proponemos caracterizar esa complejidad que se evidencia en aquellas exposiciones en que comparecen objetos y sujetos que se originan en la práctica artesanal, la que ha estado asociada históricamente a lo doméstico, lo femenino, lo comunitario y las tradiciones ancestrales, se ha adaptado a las materialidades, tiempos y condiciones de los territorios, el mercado y las instituciones en una configuración de inestable interdependencia.

En el centro de esas tensiones está la relación entre quienes producen obras y quienes organizan sus condiciones de visibilidad, donde para el caso de la artesanía, sus modos y prácticas específicas proponemos identificar un “giro afectivo” en modelos curatoriales que tensionan críticamente la pasividad de la interpretación del patrimonio de los otros con la apropiación consciente del patrimonio de un nosotros posible.

New Materialities at Play: On the colonization of narratives between humans and non-humans in science fiction platform cinema

2025-12-31T13:00:08+00:00

This article analyzes how streaming platforms colonize and neutralize critical narratives emerging around new post-anthropocentric materialities. The object of study is science fiction films on streaming platforms, specifically the series Sweet Tooth and Black Mirror, understood as cultural devices that represent and modulate the associations between human and non-human actors. Drawing on new materialism and social studies of criticism, two dimensions are examined: (1) the co-optation of ecological discourses in relationships that address interspecies hybridizations, and (2) the instrumentalization of narratives about the human-machine relationship in contemporary technological contexts. The analysis shows how these works, far from offering a transformative perspective on the relationships between humans, nature, and technology, reconfigure critique in an emotional, spectacular, and compatible way, aligned with the logic of cultural capitalism. The concept of "soft critique" is proposed to describe this form of aesthetic and moral deactivation of critique, which transforms posthumanist and ecological narratives into culturally safe and commercially profitable products.

Habitar Andino

2025-12-31T13:00:11+00:00

Visual Essay

Artistic research: Coordinates for rethinking knowledge production at the university

2025-12-31T13:00:12+00:00

Artistic research emerges as a field that questions the ways of feeling, speaking, thinking, and validating knowledge in the face of hegemonic forms consolidated in academia. From this premise, the article first develops a thematic review that serves as an epistemological framework for artistic research, articulating debates around the academic legitimation of the arts, the tensions with the scientific-positivist paradigm, its decolonizing political dimension, and the vindication of subjectivity and embodiment as legitimate sources of knowledge. Secondly, these coordinates intersect as analytical approaches for understanding the improvised musical work Ozu’s Dream (Simon Rose 2017), drawing on the contributions of situated knowledge, the philosophy of the body and movement, and the notion of the emancipated spectator to consider musical improvisation as a scene of situated artistic research. It is argued that this double operation —epistemological and analytical-performative— shows how artistic practice as research poses challenges that transcend traditional paradigms, opening paths towards embodied, relational and tacit knowledge that recognizes research-creation as a legitimate mode of knowledge production in the university.

español

2025-12-31T13:00:15+00:00

This article examines how the Chilean band Grimtotem re-signifies extreme metal tradition from a decolonial perspective, proposing horror as a sonic ontology. Through the analysis of the track “Invunche,” it argues that guttural vocality —with its vocal distortion, rough timbre, and dramatic intensity— operates as an epistemological device capable of embodying memories of colonial violence, dispossession, and historical trauma endured by the Mapuche people. By invoking the mythological figure of the invunche — a deformed, silenced, mutilated being — as a metaphor for colonized bodies, Grimtotem transforms horror into an acoustic archive, shifting metal’s logic from demonic gore toward horror as ongoing historical wound. This approach positions Latin American metal — and Grimtotem in particular — as a spaceof sonic resistance, collective memory, and epistemic production from the margins.

El problema del concepto como antecedente para una historiografía del arte callejero en Chile

2025-12-31T13:00:18+00:00

One of the challenges facing the study of street art in Chile is the absence of a historiography capable of reconstructing its trajectory within the field of visual arts, a gap that has resulted in fragmented approaches, predominantly sociological focus, and with limited access to sources that would allow its development to be understood as part of a long-term historical process. Unlike traditional visual arts in Chile, street practices have not succeeded in consolidating a tradition that articulates their origins, transformations and disputes, partly due to the difficulty of incorporating expressions that exceed already canonised frameworks. In response to this absence, this article offers a double diagnosis: first, the urgency of advancing towards a historiography that recognises street art in its artistic dimension rather than solely as a sociopolitical phenomenon, second, it examines the multiplicity of terms —graffiti, muralism, urban art, public art or street art, among others— used to describe these practices, assessing their scope and limitations in order to justify the use of “street art” as a broad conceptual category for their analysis, valuation, and eventual incorporation into a historical tradition.

Montaje

2025-12-31T13:00:21+00:00

This visual essay addresses the notion of “figural realism,” understood as the act of intersecting specific biographical events with collective historical occurrences, to trigger a concrete visual arts practice within the context of the 2020 pandemic. Through an economy of means—white paper, pencils, folding and cutting—the work sought to understand what relationships can be assembled between a family story about a submarine and the confinement resulting from the pandemic.

The process sought to take my own biographical story as a performative update of current events, leaving aside the enclosuresness of my very subjectivity to engage it with other´s experiences. The goal was to create a possible landscape, a possible reality, out of my own biography with pandemic wise global confinement.

Un devenir oblicuo. Itinerario intelectual de Nelly Richard de Tomás Peters

2025-12-31T13:00:24+00:00

Tomás Peters opens his "Oblique Becoming. Intellectual Itinerary of Nelly Richard" with a sort of warning: this is a historiographical study, a work that Nelly Richard might not like because of its monumental pretension, but it is an archive, a journey through the contexts, practices, political and cultural expressions that motivated Nelly Richard, and not a simple intellectual biography.