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XIX National Congress of Art History CEHA. Castellón, 5-8 September , 2012

ART AND ARCHITECTURE OF POWER
XIX National Congress of Art History CEHA
Universitat Jaume I.
Castellón 5-8 September 2012

http://www.fue.uji.es/jornadas/verevento.shtm?no_exp=EX100430&seccion=1

In 2012 marks the fortieth anniversary of three important milestones in the iconographic research in Spain: Castilian edition of the book by Julian Gallego, Vision and symbols in English painting Golden Century, the English translation of the Studies in Iconology , Erwin Panofsky, and the emergence of the first issue of the journal Trace and Baza. Hispanic notebooks Legend, promoted by the teacher Santiago Sebastian.


The commemoration of these three events as critical in promoting iconographic studies in our country warrants CEHA that Congress in 2012 to be held in Castellón focus an area of \u200b\u200bstudy as "iconographic" as is the representation of power. It is not a conference but iconographers reserved. The study of the representation of power allows us to approach this issue from very different perspectives, and a wide and diverse fields such as architecture, urbanism, landscaping, the luxury arts, collecting, patronage, academia, media or new technologies, to name a few. Nor should clearly focus on a particular time or in a particular territory.

Articulation and representation of power is inherent in all times and civilizations, and therefore are welcome all proposals regardless of their temporal and geographical affiliation. Of course, in the case of the English Congress of History of Art, it is intended that most of the scientific contributions focus on the Hispanic world, encompassing both his occasional European domains as its unique American dimension. The arts and architecture of power, includes all fields of art and architecture mentioned in the title is obviously a double meaning, architecture and other arts of the processes involved in the representation of power, and architecture as framework or structure that cements the essence of that power.

Section I. BUILDINGS OF POWER.
palaces and temples. The throne and the pulpit. New spaces for citizenship.

approach the complex phenomenon we call architecture, we restrict ourselves here to its functionality over the power. It is clear that, first, the analysis of the intricate mechanisms of architectural patronage, and secondly, the wide range of formal and functional types available are tools essential historiographical to understand the "architecture of power" in the estates and hierarchical societies. There is still a proposal to host a section to examine the ways both explicit and implicit, in which the architecture is allied to power in the Modern World.

Section II. DOMAINS OF POWER.

centers and networks of power. The city, the landscape and territory.

If the preceding section is limited as far as possible buildings or monuments, dump it in the analysis and interpretation of multiple scales (urban, landscape and territorial) which is embodied in the "architecture of power." Not limited only to actions to "scale" but all those involved in the actual territorial dimension, without discarding the apparently modest. The urban environment and roads, gardens and parks, defensive systems and infrastructure, landscaping and cartographic description of territory given the extent of a power that claims to redefine and leverage resources and extend the boundaries of the areas under its domain.

Section III. THE FACES OF POWER.

The image of the Prince. Portraits and effigies. Individual, family and society dynasty.

distancing of an abstract and dehumanized the same power since ancient times has needed to "flesh." This section includes all those art forms, regardless of size or medium, which embodies the features of the powerful. The remarkable variety of shapes and types that acquire individual or group portrait should not blind us to the extraordinary value of recurring and obvious signs of power, the array of regalia and insignia denoting rank of the effigy. The bourgeois revolutions bring about new ways of understanding the picture as an image of power that, after taking considerable advantage of the still limited dissemination of the recorded image, the picture will find a grace note of unexpected impact - not to mention the new venture started by the secular genre of the hand of a reproducibility and accessibility of modern computer technology makes it virtually unlimited.

Section IV. SIGNS OF POWER.

Propaganda and persuasion. Myth, symbol and allegory. Posthumous fame.

The emergence of the first human symbolic and subsequent peak in the Baroque era, characterized by an unusual cultural impregnation, we are in a high-modern chronology. If, indeed, this section has the specific purpose of rendering power in the symbolic culture of the fifteenth to the eighteenth century, travel is much broader historiographical, fitting in it both the artistic expression of the mythology and symbolism of power in societies pre-modern as those efforts that, upon exhaustion during the eighteenth century the rhetoric that was sustained allegory plastic such as gender, seeking to spread and strengthen the arts through new myths about power and its exercise. Nor is missing in the configuration of the various power mythographies minting of images called to set in the collective memory of the exploits of mythical heroes and ancestors or the virtues of heroes and statesmen.

Section V. The margins of power.

representations from power: counterimages, anti-propaganda, satire and cartoons.

Precisely because of the ease with which assumes, from a simplistic, that the relationship between art and power is translated into mere instruments, and it seems appropriate to devote a specific section to the study of the ways in which the discourse of power is subverted through artistic expression. This can be done on behalf of a rival power through counter-propaganda, a genre in which those images that stand out naked all the power of his aura, starkly showing its imperfections and excesses. It is equally effective, although perhaps more subtle, artistic prominence given to the marginalization and poverty. No doubt the modern emancipation of art gives the artist a new platform from which to rethink their relationship with established power, while new channels are emerging media, some clearly subversive for works of art whose prestige will not infrequently associated with their desire demystifying and iconoclastic.

Section VI. RITUALS OF POWER.

Celebrations, ceremonies and shows of power.

An important aspect of art history that, until relatively recently, it has not received the attention it deserves is its almost limitless potential "performative." Today, no historian would into question the essential contribution of the arts to the creation and perpetuation of a sophisticated "liturgy of power" that is particularly evident in societies under-cutting high-medieval and modern. The extraordinary architectural splendor ephemeral outlines a specific phenomenon of the defining features of the Baroque culture and, not coincidentally, their sunsets match. The role of the arts in the ceremonies of power can be defined but as a historical constant, in the words of modern anthropology, evokes the magical native substrate of power itself. For this it is also bear in mind the close ties fostered by the modern media, have been knotting between scenery, art and power.