Arts Education & Heritage - III International Collective Exhibition - Czestochowa (Poland) - Badajoz (Spain) - Publishing House of the Research ...
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III International Collective Exhibition
Arts Education & Heritage
Czestochowa (Poland) – Badajoz (Spain)
Guest Country 2019: Mexico
Concept: Juana Gómez Pérez
Coordination and website: Luis Ochoa Siguenza
Editorial team and curators: Pilar Barrios Manzano
Juana Gómez Pérez
Renata Ochoa-Daderska
English Translation: Timothy M. Foster
Peer reviewers: Rosa María Macarro Asensio
María Magdalena López Pérez
Published by:
Publishing House of the Research and Innovation in Education Institute, ul
Czecha 13 lok. 65. 42-224 Czestochowa – Poland. http://publisher.inbie.pl/
info@inbie.pl
Date: 2019
PRINT EDITION: ISBN 9 978-83-950586-5-3
DIGITAL EDITION: ISBN 9 978-83-950586-4-6
Cover picture: Bronze statue of the Roman goddess Minerva in
Guadalajara (Jalisco) by María Méndez Suarez (2019)
Graphic design: Juana Gómez Pérez
Printed by: Aseja A.P. Extremadura. C/ Juan de la Cierva, 4. Polígono
Empresarial Mejostilla. 10004 Cáceres (Spain)
The catalogue includes a webpage:
http://publisher.inbie.pl/art-education-and-heritage.pdf
The exhibition was organized by: Departament of Didactics of Musical,
Plastic & Corporal Expression. University of Extremadura - Spain and
Research and Innovation in Education Institute – Poland under the join
patronage of European Union, Government of Spain, Government of
Extremadura, University of Extremadura and Musaexi Reseach Group.
This publication is issued together with the exhibitions “Art Education &
Heritage” held simultaneously at the Virtual Art Gallery off the House of the
Research and Innovation in Education Institute, http://gallery.inbie.pl/ and
The Education College. University of Extremadura.
This work is licensed under a Creative Commons Attribution-NonCommercial-
NoDerivatives 4.0 International (CC BY-NC-ND 4.0)
Czestochowa - 2019
IIII EXPOSICIÓN INTERNACIONAL COLECTIVA SIMULTANEA
Arts Education & Heritage
Educación Artística y Patrimonio
Czestochowa (Polonia) – Badajoz (España)
15 Marzo- 15 Abril
País invitado 2019: México
Publishing House of the Research and Innovation in Education Institute
ul. Czecha 13 lok. 65
42-224 Czestochowa – Poland
http://publisher.inbie.pl / info@inbie.pl
Table of Contents. Tabla de Contenidos
List of authors 5
Foreword
Antonio Antúnez, Head of Departament 6
Acknowledgements Curators 7
Lista de autores 25
Prólogo
Antonio Antúnez, Director de Departamento 26
Presentación Comisariado 27
List of authors presented at the exhibition: Arts Education & Heritage
1. - Zacarías Calzado Almodóvar (2018). DEHESA. IN THE LANDS OF THE SERENA I & VI. Mixed
media on MDF. 50 x 50.
2. - Joaquín Rodríguez Daza (2002 & 2018). MONUMENTAL CÁCERES. MURAL PROJECT.
Pencil, pastel, and ink on canvas and wood. 40 x 50. APSE. Oil on canvas. 100 x 81.
3. - Juana Gómez Pérez (2019). IN & OUT. Collage. 21 x 30.
4. - Angélica García-Manso (2019). BACKWARDS IMAGES: FROM GRAFFITI TO MONUMENTS.
Digital image retouching. 110 x 80.
5. - María Méndez Suárez (2019). HERITAGE GODDESSES. Digital Art, 50 x 80.
6. - Guadalupe Durán Domínguez (2019). IN MEMORIAM. Digital Collage, 40 x 30.
7. - Cayetano Cruz García (2000). A YOUNG PERSON’S WALK THROUGH BADAJOZ. View of
Badajoz. End of Century & On the way to the Archaeological Museum. Oil on canvas
board. 27 x 19.
8. - Rodrigo Espada Belmonte (2006). PRESERVING HERITAGE. Our Lady of Grace. Alabaster
stone. Height 75 cm.
9. - Alicia Victoria Díaz Borrego (2019). CHALLENGING THE PATRIARCHY. Collage. 30 x42.
10. - Eva María Domínguez Gómez (2018). LOOKING FOR COLOUR. In Buenos Aires. In Berlin.
Digital composition. 24 x 32.
11.- Clara María Báez Merino (2010-2012). THE RIVER THAT UNITES US. Pla Building &
Guadiana Bubbles. Lacquer on canvas 100 x 100.
12. - José Vidal Lucía Egido & Mª Ángeles Jareño Quílez. WORDS, FORMS AND IMAGES TO
UNDERSTAND OUR HERITAGE (2015-2019). Digital Photo. 24 x 32.
13. - Vicente Sierra Puparelli (2013). LIBRARY OF THE UNIVERSITY OF SALAMANCA,
YESTERDAY & TODAY. Photo. 30 X 42.
14. - María Antonia García de León Álvarez (2019). WOMEN’S MOMENT. Collage. 21 x 30.
15. - Renata Ochoa-Daderska (2019). AION-POSEIDON & STORM. Pastel & Oil on canvas. 50
x 70 - 70 x 70.
16.- Martín Gómez-Ullate y Pedro Corcho S. (2019). FLAMENCO MOMENTS. Photo. 30 x 42.
17.- Pilar Barrios Manzano y Guillermo Contreras Arias (2006-2019). SO FAR…SO
CLOSE…Photo. 24 x 32.
5
Foreword
The concept of Heritage in relation to culture is relative and active at the same time. It
does not refer to the capital or assets it incorporates, but rather to what it represents
for a society at each moment of its history, defining, in turn, what it is that must be
protected.
As part of our cultural heritage, art embodies a distinct social, participative, and dynamic
nature, demonstrating the interpretation that the community to which we belong
makes of the signs in our environment and forming a great educational legacy.
The exhibition “Art, Education, and Heritage” generates the knowledge that the
magnificent artists who participate in it contribute with their works and that
consequently becomes part of the capital of our educational system, that is, the cultural
heritage that must be preserved from generation to generation.
The list of works included in this catalogue shows us an admirable artistic variety based
on the diverse personalities of its authors using a variety of mediums: oils, collage,
retouching of digital images, digital art, alabaster sculpture, photographs, etc., all
inspiring the curiosity of the observer.
In the Department of Didactics of Musical, Plastic and Corporal Expression of the
University of Extremadura we enjoy being participants, at the same time as we support
and endorse once again the exceptional idea of bringing art to all areas of a global
society.
Antonio Antúnez Medina
Director of the Didactics Department
of Musical, Plastic and Corporal Expression
Pierre Bourdieu said that to talk about concepts is to make them work. Today more than
ever our contemporary society, marked by economic, political, social, and cultural
globalisation, accelerated by advances in communications and information technology,
has conditioned the social value and homogenisation of cultures. Majority cultures are
increasingly absorbing minority cultures, threatening cultural diversity and richness.
6
Acknowledgments
Another year, another edition of the collective exhibition coming from our
Department at the University of Extremadura. In it, all of the arts are integrated, with
the desire to show us as we are, and to seek common goals through artistic expression.
In the first edition, we presented images from the European Erasmus Programme. In
the second, using different techniques we showed the incorporation of music into all
of our lives, and its evidence in our artistic works.
On this occasion, the third edition, we wished to show the different perspectives on
heritage within artistic education. With both tangible and intangible samples of
heritage, we present a combination of distinct visions, from different approaches but
in their most beautiful forms. Through our differences, as one would expect from a
group of artists, in the end with this collection of works a beautiful and rich sample of
our shared heritage comes together and helps us to understand what has united us
throughout history.
2019 marks the 500th Anniversary of the arrival of Hernán Cortés to Tenochtitlan, from
Extremadura to Mexico; this represents more than a sufficient occasion to reaffirm
what we have shared all these five hundred years. Along with it, we are conscious of a
shared legacy and the necessity of imparting it. This is not an easy task these days, but
it is possible through education in the arts.
Our most sincere thanks to everyone in the institutions that are allowing us to carry
out this exciting project. This year we include our Mexican partners, with whom we
have been working for years on this heritage that we share through the arts.
Pilar Barrios Manzano
Juana Gómez Pérez
Renata Ochoa-Daderska
Curators of the Exhibit
7
1. - Zacarías Calzado Almodóvar (2018). DEHESA
In 2017, Institutions and public entities of Extremadura, Andalucía and Portugal began
the promotion of a unique Hispanic-Portuguese candidature for the dehesa to be
declared a World Heritage Site by Unesco. This initiative is part of the Prodehesa-
Montado cross-border project, which in addition proposes a law of the dehesa shared
across all the territories.
The goal is to implement the necessary actions to value the dehesa and its Portuguese
equivalent, the montado, environmentally and economically, from a sustainable point
of view. There is a need for a commitment to our land, a clearly differentiated landscape
that undoubtedly makes up the landscape of our soul: "La Dehesa". Extremadura has
more than one million hectares of dehesa, which is almost one third of the total surface.
The Assembly of Extremadura, in the Debate of the State of the Region, unanimously
approved a proposal in this direction, and, in their opinion, it means that "we are aware
of the value of our dehesa, its value towards our economy, culture, and landscape, and
above all the environmental value of this unique ecosystem.”
One of the most important aspects in the development of Western aesthetic theory has
been the relationship between art and nature. Art takes as its model nature, not only
idealised nature according to classicist canons, but also that which presents the qualities
of a nature analysed by the imagination of the artist. We find the vision of the latter
much more satisfactory the more it resembles works of art.
From its beginnings, landscapes have been conceived as an artistic genre fundamentally
oriented towards disinterested and emotional contemplation, not distracted by any
argument or protagonists, although they may contain figures or constructions.
8
The creative diversity in Extremadura, in the words of the MUBA director María Teresa
Rodríguez, from the second half of the 20th century, the creative freedom of the artist,
and the personal interpretation in the gaze towards Extremaduran landscapes leads to
the recognition of a close and familiar space, but at the same time gives viewers the
ingredients that allow them to make their own reading aided by the aesthetic and poetic
evocations that the work itself produces. Far from a photographic naturalism,
Extremaduran artists reflect the soul of the landscape as part of themselves and of the
sensations generated.
2. - Joaquín Rodríguez Daza (2002 & 2018). MONUMENTAL CÁCERES
Clearly defined visual references, patrimonial themes, or indirect references to them,
have all been carried by the author into graphic or plastic expression, on different
occasions and different creative periods of their lives, whether making allusions to
aethetic qualities of their urban or natural surroundings, or by making reference to
other conceptual or dream-like elements of those areas. What we see here presents
clear examples of this dynamic.
The first work, more constructive and with a more emphasized visual-descriptive
languaje, is a turn-of-the-century creation; geometrical elements and graphic structures
that appear on it play a key role in the composition: they establish a dialogue between
each part of the set. They are laid out in a semicircular format, to scale with the space
in which they are located, and represent the union of architectural elements such as
arches, façades, buildings, etc., in monumental Cáceres, linking them all into a never-
ending structural dialogue. This creation is part of a project designed for covering the
mural space in some instalations/the palace of the “Cacereña” cultural institution and
whose theme was 'Monumental Cáceres, A World Heritage Site'.
In the second work, 'Apse' -a later creation made in 2018- another plastic language is
used; less visual, more haptic sensations with visual references, with crearly
9
architectural content. It represents a dialogue between historical architecture and its
surroundings, a discourse of existential relations like two inseparable pieces that,
eventually, form a single set, a single composition; the inner one of the apse and the
outer one of the surroundings that are fused to it.
Both creations, from differents creative periods and with different lenguages, make
reference to artistic and cultural heritage, in one way or another.
3. - Juana Gómez Pérez (2019). IN & OUT
The purpose of the project has been to publicize two of the most traditional Christmas
traditions in Extremadura: the boards of Albalá and the pastorela Nativity play of
Palomeros. These celebrations, for different reasons, have been used for educational
purposes as a resource for social identity in our autonomous community in recent years.
The first image represents the tradition of the boards. In Albalá, in contrast with other
localities of the region, the traditional feminine role can be shared or even played
entirely by men. The landscape in the background recalls part of the old path, which
used to stop at the Doctor's Meadow. The celebration, of pagan origin, takes place
entirely in the street. The parade has evolved, adapting to the times, so that it remains
alive in the locality.
The second illustration recreates the ceremony of the shepherds’ adoration in
Palomero, an intimate image inside the temple. The score of the adoration song
decorates the back wall, as a tribute to music as a fundamental element of the staging.
This celebration is closely linked to autos sacramentales (allegorical religious plays), a
fact that may have influenced its nearly vanishing.
10Finally, a word on the name of the project, In & Out. Apart from what was already
mentioned about the celebrations inside or outside of the church, it also refers to the
need to take closer look at traditional cultural expressions through the lens of gender
within the framework of respect for cultural rights. At the same time, it fosters its
relationship with the processes of economic, social and cultural development in order
to perpetuate itself.
4. - Angélica García-Manso (2019). BACKWARDS IMAGES 1
We present two creative proposals that, apparently, act in two directions
simultaneously: on the one hand, the first proposal shows the journey from
photography to graffiti; on the other, the second goes from graffiti to the photographic
image. The conceptual idea responds to a constructive approach towards urban
heritage (with the case of the historic centre of Cáceres as a paradigmatic example) from
an artistic manifestation in proximity to young people. The intervention on the walls
stands as a reflection on stone made from predominantly infographic designs.
We attempt to intervene in heritage in our heritage in order to recognize it conceptually
without physically modifying it; that is, as an invitation to the spectator (or, as the case
may be, to the young student) so that, while he learns to discover his cultural heritage,
he can manipulate it virtually, making it his own. If this is not the case, one can fall into
patrimonial damage of the recently restored Pórtico de la Gloria in the Cathedral of
Santiago, the object of repainting (which, probably, goes beyond mere hooliganism,
although this is not the place to elucidate anything about it).
1
Credits: Vintage postcards [photograph from the Municipal Historical Archive of Cáceres (c. 1915) and
postcard from Phototypie Bienaimé de Reims (c. 1910), respectively]; RCM-FNMT postage stamp (2014);
Game of Thrones photogram (HBO, 2017); and photograph of Ben Tocha's graffiti-mural for Hostal La Rosa [C.
Sanguino Michel 8, de Cáceres] (2012). The images have been retouched by means of free distribution of
"combos" from #Photo.Lab for Android (VicMan LLC).
11The Arco de la Estrella is one of the icons of the city, as well as the façade of the scenery
of the Plaza Mayor. Thus, a local graffiti artist such as Ben Tocha (Benjamín Salado,
Cáceres, 1977) used the facade of the Arco de la Estrella as the motto for a tourist hostel
in an ambivalent way: the guest enters the hotel while accessing the monumental city
of Cáceres that, perhaps, he has been able to visit and get to know. In addition, the hotel
is located in an area far from the historic centre.
For its part, it has become famous as the access to a fictitious kingdom within a
successful television series in recent years: Game of Thrones (HBO, 2011-2018),
specifically in the seventh season. The entrance to the capital of this kingdom is made
precisely through the Arco de la Estrella in Cáceres, camouflaged with digital recreation
over a real image. The result is, in truth, dreamlike. Hence, its transfer through digital
filters for photography to virtual graffiti serves to change the process of mixing and bring
the false image to the field of creation and dialogue between digital retouching and a
pictorial evocation. In effect, the series Game of Thrones refers to a medieval fantasy
past, but there are real images of water carriers and washerwomen in a provincial town
with the enormous weight of an aristocracy that could continue to be called "old
regime", as if nothing had changed between the moment of the photographic snapshot
and that of the construction of a lowered door that is two centuries old.
5. - Maria Méndez Suárez (2019). HERITAGE GODDESSES
Certain places on Earth with an “exceptional universal value” are established by
UNESCO as World Heritage Sites. They also highlight the importance of intangible
cultural heritage as a melting pot of cultures and protector of sustainable development.
Mythology belongs to this inestimable intangible heritage: myths representing the
mysteries of life, love, fertility, nature, of strengths but also weaknesses. In short, they
reflect the imperative human need of that insatiable search for the understanding of
life and death, thus creating immortal and divine beings, their gods.
12Diana, Roman goddess of hunting, virginity, the Moon, and peace, and the protector of
nature, is often depicted with her bow and accompanied by a deer, symbolizing virtue,
the mystery of the night and strength, but also calm. Proserpina in turn is the Roman
goddess of fertility and spring, of the fruits of life. She represents the hope of the world,
death and life in a circular cycle which never ends.
This is a tribute to all the women—goddesses that at some point in time were, are, or
will be Diana and Proserpina. We give life and hope to the world, we know how to be
strong and tough, but also tender and protective; we care for balance and love deeply.
In this way, WOMAN represents an “exceptional universal value” and that is why she is
the greatest heritage of humanity.
6. - Guadalupe Durán Domínguez (2019). IN MEMORIAM
The Cultural Heritage of each of our communities is integrated into World Heritage
because it has an irreplaceable universal value. Therefore, we create regulations to
prevent their disappearance. However, this does not prevent actions, avoidable or not,
leading to their loss. For this reason, these pieces are born, in order to relive what is no
longer, in the memory of time.
“II. National protection and international protection of the cultural and natural heritage”2
Article 4
Each State Party to this Convention recognizes that the duty of ensuring the identification,
protection, conservation, presentation and transmission to future generations of the cultural and
natural heritage referred to in Articles 1 and 2 and situated on its territory, belongs primarily to
that State. It will do all it can to this end, to the utmost of its own resources and, where appropriate,
with any international assistance and co-operation, in particular, financial, artistic, scientific and
technical, which it may be able to obtain.
2
Convention Concerning the Protection of the World Cultural and Natural Heritage (1972)
Acknowledgement: Mariordo (Mario Roberto Durán Ortiz)
13Article 6
1. - Whilst fully respecting the sovereignty of the States on whose territory the cultural and natural
heritage mentioned in Articles 1 and 2 is situated, and without prejudice to property right provided
by national legislation, the States Parties to this Convention recognize that such heritage
constitutes a world heritage for whose protection it is the duty of the international community as
a whole to co-operate
7. - Cayetano Cruz García (2000). PASEOS DE JUVENTUD EN BADAJOZ
Extremadura, from its people, its fields, and its people is welcoming; this is one of the
main reasons why those who are born or live here are attracted to it, and like to return.
Many are the artists who did not abandon it: Covarsí, Checa…; others have used it as a
refuge at times, in the case of Eugenio Hermoso; or in thought, like Pérez Jiménez. Apart
from this fact, artists have found in Extremadura a source of inspiration; we know this
by means of their research or books; or without going any further, by their paintings.
I was able to converse with and receive lessons from some contemporary artists from
Badajoz, among them Agustín del Real, Francisco Pedraja, Vaquero Poblador. In them
and others you can observe these feelings of welcome and interest for what one feels
as their own, the pride of our natural and intrinsic heritage, which is also manifested in
the artistic nature, with landscapes and spaces into which man integrates.
As I was devoted for many years to landscaping, I liked to walk around Badajoz. At the
end of last century, I completed a series of small-format paintings, some of which I never
displayed. Among them there are the two that are collected in this
edition, corresponding to a walk made on the way to the Archaeological Museum.
They are moments of solitude in which I decide to leave Badajoz in order to live
in another town, and that articulate that feeling expressed in previous paragraphs.
Perhaps, also, a personal dialogue for which I say goodbye to my city.
148. - Rodrigo Espada Belmonte (2006).
PRESERVING HERITAGE
Preserving heritage is an obligation of
all peoples.
In these days when technology allows
us to observe what happens in our
environment in real time, we observe,
in shock, how sometimes as a
justification for a certain political-
military abandon, sometimes with
religious justification, and others just
for neglecting or not knowing how to
value our heritage, our culture and
our history, the artistic heritage of the
people is destroyed or left to die.
It is our obligation, by any means, to become aware of what is happening in our
environment in order to keep in mind that we must protect the lion’s share of this
inheritance with all available means at our disposal.
The work in question shows the process of reproduction of the image of the thirteenth
century Our Lady of Grace, 75 centimetres high, a Romanesque-Gothic carving made of
alabaster stone, transparent and very delicate.
This jewel of ancient art is the result of the transition of Romanesque iconography and
although there is no confirmation of it, it is thought that the Templar Knights brought it
from Italy to Oliva de la Frontera (Badajoz), around 1230. Others authors, however, date
it between 1400 and 1410.
The work is in the shrine of Nuestra Señora De Gracia, Oliva de la Frontera, and religious
processions passed through the streets until in the year 2006 an important restoration
was made due to the considerable damage that it showed, with fractures in several
parts of the stone, and detachment of the polychrome as a result of the continuous
friction while carried over the centuries.
After the restoration, it was concluded that a true copy of the original should be made
to preserve and protect it and to maintain the tradition of local cultural heritage. The
work was meticulously carried out by José Manuel Gamero Gil (sculptor) and Rodrigo
15Espada Belmonte (sculptor and restorer) and, since 2007, the reproduction
continues the tradition of being exhibited for the people every year, through the
streets of the town, while the original remains intact in the chapel of the sanctuary.
9. - Alicia Victoria Díaz Borrego (2019). CHALLENGING THE PATRIARCHY
In this project two collages are presented, that is to say, they are altered photographs
related to my research focused on equality and heritage.
From a critical and feminist perspective towards to Heritage, it would be necessary to
pose a challenge to the Patriarchy. A feministic artistic practice should question
heritage, given the fact that women’s history was made by men, which is why women
are not represented in the same way.
Thanks to the demands for equality, it is now urgent to balance the scale in favour of
women artists, since in museum spaces the predominant art continues to be that of
men. Cultural heritage must take into account the demands for the visibility of women,
creating new structures representing them, that is, a heritage to educate on gender
equality in culture.
Museum spaces should contemplate the gender perspective in order to make women
more visible. Therefore, we must promote equality in culture, as we continue to face
silence and discrimination.
1610.- Eva María Domínguez Gómez (2018). LOOKING FOR COLOUR
The collection “Looking for Colour” aims to highlight artistic and architectural heritage
where colour has a special presence as an element of artistic composition. The different
pieces composing the series are collected spaces or pieces forming part of the
patrimony of different countries. Aesthetically, the line followed in this work is
influenced by the compositional norms of graphic design. Every piece starts from a
snapshot, and later, predominant colours and typographical elements are included. The
two digital compositions presented in this exhibition have collected heritage spaces
from Buenos Aires (photo 1) and Berlin (photo 2).
Conceptually this work arises as a collateral line to the contest “Where is the colour?” 3
held at the Teacher Training Faculty of the University of Extremadura (Cáceres), of which
three editions have already been held. The event aims to use colour from arts education
to generate identity and artistic heritage within the centre itself. The competition is
open to students and teachers, who develop artistic interventions under the
responsibility and organization of the Plastic Expression area of the Faculty. Colour is
the compositional element used to enhance areas or spaces of the Faculty. So far, the
spaces on which it has been done have been benches, pillars and large windows
from different spaces of the centre.
3
See site: https://sites.google.com/site/evadominunex/Home
1711. – Clara Báez Merino (2010-2012). O RIO QUE NOS UNE
Between 2010 and 2012 in Badajoz, a cross border association for visual artists existed,
called ARTAP. We were painters and sculptors with a common interest: to unite the
cities and villages of the well-known “Raya” (line, border) between Spain and Portugal,
politically separated but with common culture and traditions.
The first picture shows a modernist building in the Spanish city of Badajoz. It was a car
garage called PLA, presently home of the Lawyers Professional College. Behind it we
can see the cathedral’s tower. Both buildings represent the beginning of the Old Town,
the way most visited by tourists toward the historical city. The image is captured
through a glass surface with a water effect, in order to emphasize the curved style of its
architecture.
The second picture continues the idea of water vision, this time with bubbles that
subtley magnify the facade of another emblematic building in Badajoz: the Puerta de
Palmas (Palms Gate). This is an old gate to the city, from the oldest bridge, the Palms
Bridge. This bridge spans the Guadiana River, one of the most important rivers in Spain,
and the unique because of its hidden sections that emerge along its course to the
neighbouring country, Portugal.
At the Portuguese town of Elvas, we find the most impressive portion of a huge
monument related to water, the Aqueduct of Amoreira. Both symbols, the aqueduct in
Elvas and the Palms Gate in Badajoz, are the emblems of both towns, and they deserve
to represent us. They, and of course the river that joins us, are well-deserved
representatives. In other times it separated us, but nowadays is considered as a Liquid
Street, a channel for culture, entertainment, encounters with nature, and the sunsets,
especially beautiful in these latitudes.
This is my tribute to our twin country and its culture, our twin as well.
1812. - José Vidal Lucía Egido y Mª Ángeles Jareño Quílez. WORDS, FORMS AND IMAGES
TO UNDERSTAND OUR HERITAGE (2015-2019)
Hand in hand with an adult, but also with the peer group, children start early in the
knowledge of the heritage nearby. Today there are many schools that organize these
proposals in a systematized manner, trying to bring the students closer to the
knowledge of their city and learn through it.
This is how the Heritage Classroom in Dulce Chacón de Cáceres CEIP was created in
2015. It is surrounded by the historical centre of this city (Almohad walls and towers,
fortress-houses and urban palaces), and also Ribera del Marco, fountains and cisterns.
The proposal was focused on looking, observing, identifying, naming, and locating
elements of Heritage and, in the end, expressing what was learned. Through various
forms and channels. The experience 4, with a methodological orientation of
collaborative learning, was to create thematic itineraries and cross-cutting activities,
using ICT for access and registration of information and, above all, with the idea of
"learning in the city", rather than "learning the city".
During the work process, inside and outside the classroom, words such as aljibe,
almena, barbacana, matacán, almohade, gárgola, cripta, alfiz, fuente, ... were
incorporated into the schoolchildren's vocabulary and allowed these elements to be
4
See blog http://patrimonioccsextob.blogspot.com.es/
19known/recognized, and their image, with its meaning, to be stored in their memory and
in the memories exempt from digital devices. The construction materials were also
taken into account: quartzite, granite ashlars, rammed earth walls, lime mortar plaster,
bricks, whitewash, wrought iron, wood, and bronze. In the same way, we worked with
street names and thus we were able to travel and recognize avenues, parks, squares,
hills, circles, streets, alleys, ... all of them, essential elements to organize itineraries. And,
in addition, reading poetic texts, listening to songs and searching for legends, and with
them we made a booklet about the city.
Other creative aspects are the identification and taking of images of unique elements,
the creation of panels called "glimpses at our heritage", making lists with terms on the
urban environment, newspaper headlines, presentation of tasks, participation in the
classroom blog, ...
In short, an experience of working collaboratively to introduce schoolchildren to
knowledge of the city in which they live, with parents as active participants throughout
the process.
13. -Vicente Sierra Puparelli (2013). LIBRARY OF THE UNIVERSITY OF SALAMANCA,
YESTERDAY & TODAY
Photography was an extraordinary invention, an true revolution in graphic arts, and in
the representation of the world and its people. A photographic image was the most real
way to represent of landscapes, monuments and cities. Soon, many photographers
popped up, going all over the known world and photographing it in order to later sell
those photos. It must be said that some of them were genuine artists because of their
good work, despite technical difficulties. The quality of some of those images is
surprising, just a few years after their invention.
20The French photographer Jean Laurent was one of them. He or his team were in
Salamanca twice, in 1865 and in 1877. On the first visit, they took 19 photographs and
96 in the second one. These pictures were published in 1884, by Jacinto Antón in the
book “The Queen of the Tormes,” with texts by Fernando Araújo.
Laurent's photographs are now very well-known in our city. They decorate the walls of
many offices and departments (especially those official), and have been commercialised
in different ways for prints, book covers, or notebooks.
Some years ago, within a program about heritage organized by the Junta de Castilla y
León, I made an "update" of those 115 photographs, looking to show the greatest
possible correspondence between the original images by Laurent and my current ones.
Among them there are 23 whose theme is some building or office of the University. For
this exhibition I present one of them, "University Library", assembling the two together
so that they can be compared with their 150 years of distance.
14.- María Antonia García de León Álvarez (2019). WOMEN’S MOMENT
We find ourselves in the historical moment to fill in our erasure of women from History,
which was only ever official History.
We have outgrown a kind of emergent social class, as the proletariat has ended, and the
political parties are questioned by social movements.
Now, we women are a force, beyond social institutions and moulds, including cultural
and literary canons.
21Women are free and emerging; hopefully the system will not surpress us again. I have
written: Goodbye to the daughters of Bernarda Alba (using Lorca’s character) the
Patriarchy is mortally wounded; goodbye to the idolatry of men.
Neither popes, nor sacred cows of culture, nor deans, rectors, editors, etc. will impose
again their model on us, they will not keep us in their mould. We are a new civility facing
unparalleled social change.
It is a singular feminine moment, because we "feral" women, outside the canon, out of
power, hold the treasure of freedom and originality for the world. An unpublished
treasure that, for the first time in history, we are able to deliver and to be heard for the
first time. This is what singular feminine expression means, here and now, without
implying reification or alienating us. On the contrary, women, as an emerging force and
a new social agent in the public sphere, are open to social change and to the future.
This is the novelty of the historical moment in which we live and take part. An analysis
of the content of newspaper archives of the main national and international newspapers
is a good indicator of this moment.
Women live in interesting times.
Going back to a genealogy of women that little by little we are recovering (the Woman
represents an “exceptional universal value” and her symbolic contribution could be
labelled as intangible heritage of humanity: goddesses, artists, lyrics ...)
15. - Renata Ochoa-Daderska (2019). AION-POSEIDON & STORM
Nature and divinity have always inspired painters and musicians in the creation of their
masterpieces. The observation of nature and divine influence is only the first necessary
step to develop a reflection about art and its meaning.
22The selected works are part of the series “Mare magnum” carried out in 2019. The
paintings present the author’s organized expressions of ideas, feelings and
experiences of two important aspects: nature and Greek mythology. Nature is
considered as the phenomena of the physical world collectively, as opposed to
humans or human creations, with special accent on water (ὕδωρ hudor) and two
Greek divinities: Aion and Poseidon that in one way or other impact nature.
According to Greek mythology, Aion was the god of time and eternity. Cronos was
depicted in Greco-Roman mosaic as Aion (Aeon), eternity personified. The "time"
represented by Aion is unbounded. He is thus a god of the ages, associated with mystery
and the afterlife. Poseidon (Poseidôn), the god of the Mediterranean Sea, is described
as gathering clouds and calling forth storms, but at the same he has it in his power to
grant a successful voyage and save those who are in danger.
16. - Martín Gómez-Ullate y Pedro Corcho Sánchez (2019). FLAMENCO MOMENT
A picture is worth a thousand words, and a picture plus a thousand words is worth more
than a million. Flamenco is much more than a musical genre; it is a cultural universe, an
identity, and a way of life. The actor Richard Gere said at the Congress of the Deputies
that the great virtue of the Spanish culture and people was knowing how to enjoy life,
to squeeze the joy out of it, to be happy, and to radiate that happiness. That "savoir
vivre" that is the heritage of many other peoples and cultures, but is denied to so many
others, in Spain is unfolded to the rhythm of dinner and after dinner conversation. To
the rhythm of our good and generous wine that heats voices, throats, and spirits that
know that it is in that festive context, in that joyful, joking and surrealist collective
construct, in that flamenco moment, that the duende and our ancestors are awoken,
and we also know that we must give it our all.
2317.- Pilar Barrios Manzano y Guillermo Contreras Arias (2006-2019). SO FAR… SO
CLOSE…
In the year 2006, in a chance encounter, I received a nice gift next to Frida Kahlo’s house
in Coyoacán, one of the oldest and most beautiful neighborhoods in Mexico City.
Someone told me about the existence of one of the best collections of instruments in
the world. Shortly after, on the same day, at the National Music School, now the Faculty
of Music of UNAM, as I was looking for other people, there appeared a large man of a
lighthearted and good-natured disposition, and he invited me in to his Ethnomusicology
class. It was Maestro Guillermo Contreras, who had been told that a professor from
Extremadura, Spain was coming and that she wanted to study evidence of shared
musical heritage. Oh, the coincidences, or causalities of life… This musician was none
other than the great collector.
Among the instruments acquired over many years, from the most basic and simple to
the most exotic and detailed, there was that little anthropomorphous clay bell from
Huanuco, which right away linked up with the Roman tintinabulum in Extremadura, so
far in space and so close in time … and, much later, with the bells that accompany us
from our childhood as rattles… We shared many musings, reasonings, and music, taking
them into our educational areas in order to understand that there is more much to unite
us than what can separate us.
24Autores presentes en la Exposición: Educación Artística y Patrimonio
1. - Zacarías Calzado Almodóvar (2018). DEHESA. Tierras de la Serena I y VI. Técnica mixta
sobre MDF. 50x50.
2. - Joaquín Rodríguez Daza (2002 y 2018). CÁCERES MONUMENTAL. Proyecto mural. Lápiz,
pastel, tinta sobre lienzo y madera. 40 x 50. Ábside. Óleo/lienzo. 100 x 81.
3. - Juana Gómez Pérez (2019). DENTRO Y FUERA. Collage Digital. 21 x 30.
4. - Angélica García-Manso (2019). IMÁGENES DEL REVÉS: DEL GRAFITI AL MONUMENTO.
Digital imagen retocada. 110 x 80.
5. - María Méndez Suárez (2019). DIOSAS DEL PATRIMONIO. Digital Art. 50 x 80.
6. - Guadalupe Durán Domínguez (2019). IN MEMORIAM. Collage digital. 40 x 30.
7. - Cayetano Cruz García (2000). PASEOS DE JUVENTUD EN BADAJOZ. Vista de Badajoz. Fin
de siglo. De camino al Museo Arqueológico. Óleo sobre tabla entelada. 27 x 19.
8. - Rodrigo Espada Belmonte (2006). PRESERVANDO EL PATRIMONIO. NUESTRA
SEÑORA DE GRACIA. Alabastro. Altura 75.
9. – Alicia Victoria Díaz Borrego (2019). DESAFIANDO AL PATRIARCADO. Collage. 30 x 42.
10. - Eva María Domínguez Gómez (2018). BUSCANDO COLORES. En Buenos Aires. En Berlín.
Composición digital. 24 x 32.
11. – Clara Báez Merino (2010-2012). O RIO QUE NOS UNE. Edificio Play Burbujas del
Guadiana. Laca sobre lienzo. 100 x 100.
12.- José Vidal Lucía Egido y Mª Ángeles Jareño Quílez (2015-2019). PALABRAS, FORMAS E
IMÁGENES PARA CONOCER EL PATRIMONIO. Fotografía digital. 24 x 32.
13. - Vicente Sierra Puparelli (2013). BIBLIOTECA DE LA UNIVERSIDAD DE SALAMANCA, AYER
Y HOY. Fotografía. 30 x 42.
14.- María Antonia García de León Álvarez (2019). EL MOMENTO DE LAS MUJERES. Collage.
21 x 30
15. - Renata Ochoa-Daderska. (2018). AION, POSEIDON Y TORMENTA. Pastel y óleo. 50 x 70
y 70 x 70.
16.-Martín Gómez-Ullate y Pedro Corcho Sánchez (2019). MOMENTOS FLAMENCOS.
Fotografía. 30 x42.
17.- Pilar Barrios Manzano y Guillermo Contreras Arias (2006-2019). TAN LEJOS…Y…TAN
CERCA. Fotografía. 24 x 32.
25Prólogo
El concepto de Patrimonio en relación con la cultura es relativo y activo al mismo
tiempo, no se refiere al capital o bienes que incorpora sino a lo que representa para
una sociedad en cada momento de su historia definiendo, a su vez, qué es lo que
hay que proteger.
Como parte del patrimonio cultural, el arte atesora una acentuada naturaleza social,
participativa y dinámica, que constata la interpretación que la comunidad de la que
formamos parte hace de los signos de nuestro entorno, formando un gran legado
educativo.
La exposición Arte, Educación y Patrimonio genera el conocimiento que aportan con sus
trabajos los magníficos artistas que participan en ella y que consecuentemente pasa a
formar parte del capital de nuestro sistema educativo, es decir, la herencia cultural
que deberá preservarse de generación en generación.
El listado de obras que recoge este catálogo nos muestra una admirable variedad
artística fundamentada en la diversa personalidad de sus autores a través de
técnicas mixtas, oleos, collage, retoques en imágenes digitales, arte digital,
escultura en alabastro, fotografías, etc., inspirando la curiosidad del observador
En el Departamento de Didáctica de la Expresión Musical, Plástica y Corporal de la
Universidad de Extremadura disfrutamos siendo partícipes, a la vez que
respaldamos y avalamos una vez más la excepcional idea de acercar el arte a todos los
ámbitos de una sociedad global.
Antonio Antúnez Medina
Director del Departamento de Didáctica de la
Expresión Musical, Plástica y Corporal
Pierre Bourdieu decía que hablar de los conceptos es ponerlos a funcionar. Hoy más
que nunca nuestra sociedad contemporánea, marcada por la globalización
económica, política, social y cultural, acelerada por los progresos en la tecnología de
comunicaciones e información, ha condicionado el valor social y
homogeneización de las culturas. Las culturas mayoritarias absorben cada vez más las
culturas minoritarias representando una amenaza para la diversidad y riqueza
cultural.
26Presentación
Un año más, una nueva edición de la exposición colectiva, que parte del
Departamento de la Universidad de Extremadura, en el que se integran las artes, con
el deseo de mostrarnos como somos y buscar objetivos comunes dentro de la
expresión artística.
Si en las dos ediciones anteriores presentamos, en la primera, imágenes del Programa
Europeo Erasmus; en la segunda, mediante distintas técnicas, la inserción de la
música en la vida de cada uno, y su muestra en nuestras manifestaciones artístico-
plásticas; en esta ocasión, en la tercera edición, hemos querido mostrar las distintas
visiones del patrimonio dentro de la educación artística.
Con muestras del patrimonio material e inmaterial, presentamos una amalgama de
visiones diferentes, desde distintas facetas en sus más bellas formas. Desde la
divergencia, como debe ser en un grupo de artistas, finalmente el conjunto de obras,
converge en una bella y rica muestra del patrimonio compartido, que nos hace
comprender lo que nos ha ido uniendo a lo largo de la historia.
En 2019 se cumple el V Centenario de la llegada de Hernán Cortés a Tenochtitlán, de
Extremadura a México, y es una razón más que suficiente para reafirmar lo que
hemos compartido durante 500 años. Con ello somos conscientes de un legado
común y de la necesidad de transmitirlo. No es una labor fácil en los tiempos que
corren, pero sí es posible a través de la educación por las artes.
Nuestro agradecimiento a todas las personas en instituciones que están
permitiéndonos llevar a cabo este ilusionante proyecto. Este año lo hacemos
extensivo a los compañeros mexicanos, con los que llevamos ya años trabajando
sobre ese patrimonio que compartimos a través de las artes.
Pilar Barrios Manzano
Juana Gómez Pérez
Renata Ochoa-Daderska
Comisariado de la muestra
271. - Zacarías Calzado Almodóvar (2018). DEHESA
Instituciones y entidades públicas de Extremadura, Andalucía y Portugal
comenzaron en 2017 el impulso de una candidatura única hispano-lusa para que
la dehesa sea declarada Patrimonio de la Humanidad por la Unesco. Esta
iniciativa se enmarca en el proyecto transfronterizo Prodehesa-Montado, en el
que, además, se plantea una propuesta de ley de la dehesa única para todos los
territorios.
El objetivo es poner en marcha las actuaciones necesarias para valorar
ambiental y económicamente la dehesa y su equivalente portugués, el
montado, desde un punto de vista sostenible, necesidad del compromiso hacia
nuestra tierra y hacia un paisaje claramente diferenciado que constituye sin
duda el paisaje de nuestra alma: “La Dehesa”. Extremadura tiene más de un
millón de hectáreas de dehesa, que es casi un tercio de la superficie.
La Asamblea de Extremadura en el Debate del Estado de la Región aprobó por
unanimidad una propuesta en ese sentido y, a su juicio, eso quiere decir que
‘’somos conscientes del valor de nuestra dehesa, el valor económico, el cultural,
paisajístico, en definitiva, el enorme valor medioambiental de un ecosistema
único’’.
Uno de los aspectos más importantes en el desarrollo de la teoría estética
occidental ha sido el de las relaciones entre arte y naturaleza. El modelo a
interpretar por el arte es el de una naturaleza, no sólo no idealizada según los
cánones clasicistas, sino aquélla que presenta las cualidades de una naturaleza
analizada por la imaginación del artista. Nos resulta mucho más satisfactoria la
visión de aquélla cuanto más se asemeje a las obras de arte.
28El paisaje se ha concebido desde sus inicios como género artístico
fundamentalmente orientado a la contemplación desinteresada y emotiva, no
distraída por ningún argumento o protagonista, aunque pudiera contener
figuras o construcciones.
La diversidad creadora en Extremadura, en palabras de la directora del MUBA,
María Teresa Rodríguez, desde la segunda mitad del siglo XX, la libertad
creadora del artista, la interpretación personal en la mirada hacia el paisaje
extremeño induce al reconocimiento de un espacio cercano y familiar pero, al
mismo tiempo, da al espectador los ingredientes que le permiten realizar su
propia lectura, ayudado por las evocaciones estéticas y poéticas que la propia
obra produce. Lejos de un naturalismo fotográfico, los artistas extremeños
reflejan el alma del paisaje como parte de ellos mismos y del sentimiento
generado.
2.- Joaquín Rodríguez Daza (2002 y 2018). CÁCERES MONUMENTAL
Referentes visuales claramente constitutivos a temáticas patrimoniales o
referentes indirectos a ellos han sido llevados por el autor a obra gráfica y
plástica en numerosas ocasiones y en distintos periodos creativos de su vida,
bien sea aludiendo a cualidades estéticos del entorno, urbano y natural, o bien
haciendo alusión a determinados elementos conceptuales u oníricos de estos
aspectos. Las muestras que aquí presenta son claros ejemplos de esta dinámica.
La primera obra, más constructiva y con un lenguaje descriptivo-visual más
acentuado, corresponde a una creación de principio de siglo; los elementos
geométricos y estructuras gráficas que aparecen en ella juegan un papel
importante en la composición, establecen un diálogo entre cada parte del
29conjunto. Están realizados en un formato semicircular, a escala del espacio real
en el que se ubica y representa la unión de elementos arquitectónicos, fachadas,
arcos, edificios, de la Cáceres monumental, entrelazados en un continuo
diálogo estructural. Esta creación forma parte de un proyecto diseñado para
cubrir el espacio mural de unas instalaciones/palacio de la institución cultural
cacereña y cuya temática fue Cáceres monumental, patrimonio de la
humanidad.
En la segunda obra, “Ábside”, de más reciente creación -2018-, se utiliza otro
lenguaje plástico, menos visual, más de sensaciones hápticas con referentes
visuales, de claro contenido arquitectónico. Representa un diálogo entre
arquitectura histórica y entorno, un discurso de relaciones existenciales como
dos piezas inseparables que al final forman un solo conjunto, una sola
composición, la interior del ábside y la exterior del entorno que lo fusiona.
Ambas creaciones, de distintos periodos creativos y con lenguajes diferentes
hacen referencia al patrimonio artístico y cultural, de una forma u otra.
3. - Juana Gómez Pérez (2019). IN & OUT
El propósito del proyecto ha sido dar a conocer dos de las fiestas navideñas más
tradiciones en Extremadura: las tablas de quintos de Albalá y la pastorela de
Palomero, celebraciones que, por diferentes motivos, han sido objeto de
aprovechamiento didáctico en los últimos años como recurso social identitario
en nuestra comunidad autónoma.
La primera imagen representa el ritual de las tablas. En Albalá, a diferencia de
lo que ocurre en otras localidades de la comarca, el tradicional rol
femeninopuede ser compartido o incluso desempeñado enteramente por
hombres. El paisaje de fondo rememora parte del recorrido primitivo, que
30hacia una parada en la dehesa del médico. La celebración, de origen
pagano, transcurre íntegramente en la calle. La fiesta ha evolucionado,
adaptándose a los tiempos, de manera que permanece viva en la localidad.
La segunda ilustración recrea la ceremonia de adoración de los pastores en
Palomero, imagen intimista en el interior del templo. La partitura de la canción
de adoración decora la pared de fondo, a modo de homenaje a la música como
elemento fundamental de la puesta en escena. Esta celebración está muy ligada
a los autos sacramentales, hecho que ha podido influir en su práctica
desaparición.
Para concluir, en cuanto a la denominación del proyecto: In & Out, aparte de la
ya mencionadas relativas a las celebraciones dentro o fuera de la iglesia. Esta
también hace alusión a la necesidad de revisar las manifestaciones culturales
tradicionales con unas lentes de género (Gender lens investing) dentro del
marco de respeto a los derechos culturales (cultural rights). Al mismo, tiempo
que promover su relación con los procesos de desarrollo económico, social y
cultural para perpetuarse.
4. - Angélica García-Manso (2019). IMÁGENES DEL REVÉS 1
Ofrecemos dos propuestas creativas que, aparentemente, actúan en
direcciones opuestas: por un lado, la primera propuesta muestra el viaje de la
fotografía al grafiti; por otro, la segunda se centra desde el grafiti a la imagen
1
Créditos: Retoque digital de imágenes. Postales de época [fotografía del Archivo Histórico Municipal de
Cáceres (c. 1915) y postal de Phototypie Bienaimé de Reims (c. 1910), respectivamente]; sello de correos de
RCM-FNMT (2014); fotograma de Game of Thrones (HBO, 2017); y fotografía del grafiti-mural de Ben Tocha
para el Hostal La Rosa [C. Sanguino Michel 8, de Cáceres] (2012). Las imágenes han sido retocadas mediante
“combos” de libre distribución de #Photo.Lab para Android (VicMan LLC).
31fotográfica. La idea conceptual responde a una aproximación constructiva
alpatrimonio urbano (con el caso del centro histórico de Cáceres como
ejemplo paradigmático) desde una manifestación artística de proximidad
con los jóvenes. La intervención en las paredes se impone como una
reflexión sobre el muro a partir de diseños predominantemente infográficos.
Se trata de intervenir en el patrimonio para reconocerlo conceptualmente sin
modificarlo físicamente, es decir, como una invitación al espectador (o, en su
caso, al joven estudiante) para que, mientras aprende a descubrir su patrimonio
cultural, pueda manipularlo de manera virtual, al tiempo que lo hace suyo. Si no
es así, se puede caer en el daño patrimonial del recientemente restaurado
Pórtico de la Gloria, de la Catedral de Santiago, objeto de una pintura (que,
probablemente, va más allá del mero gamberrismo, aunque no es el lugar para
dilucidar nada al respecto).
El Arco de la Estrella es uno de los iconos de la ciudad, así como la fachada
escenográfica de la Plaza Mayor. Así, un grafitero local como Ben Tocha
(Benjamín Salado, Cáceres, 1977) recurrió a la fachada del Arco de la Estrella
como lema de un albergue turístico, de forma ambivalente: el huésped entra en
el hotel mientras accede a la monumental ciudad de Cáceres que, quizás, ha
podido visitar y conocer. Además, el hotel está situado en una zona alejada del
centro histórico.
Por su parte, se ha hecho famoso el acceso a un reino ficticio dentro de una
exitosa serie de televisión en los últimos años: Juego de Tronos (HBO, 2011-
2018), en su séptima temporada más específicamente. La entrada a la capital
de este reino se realiza precisamente a través del Arco de la Estrella de Cáceres,
camuflado con recreación digital sobre imagen real. El resultado es, en verdad,
onírico. Así, en su transferencia a través de filtros digitales para la fotografía a
un grafiti virtual, sirve para cambiar el proceso de mezcla y llevar la falsa imagen
al campo de la creación y el diálogo entre el retoque digital y una evocación
pictórica. En efecto, la serie Juego de Tronos hace referencia a un pasado de
fantasía medieval, pero hay imágenes reales de aguadores y lavanderas en una
ciudad de provincias con un enorme peso de aristocracia que podría seguir
llamándose "antiguo régimen", como si nada hubiera cambiado entre el
momento de la instantánea fotográfica y el de la construcción de una
puerta rebajada que tiene dos siglos de antigüedad.
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