Constelación: co-instalación artística para la propuesta de espacios amigables.

Abstract

The artistic project called Constelación aims to make an art proposal that reflects on a critical-social discourse, using an intention to the Friendly Environments initiative as part of the proposal and understanding its influence with the local community to complement the social function of artistic ideals. The central idea, which comes from the Constructive Universalism artistic current, is to show the human being as part of the cosmic order, distinguishing each person as their universe of possibilities and actions, respecting the characteristics of singularity that manifest thought as the distinction of geometry in design and flat colorimetry. According to institutional standards, the research breaks into four chapters that divide the essential pillars of the concept and allow its layers to be orderly and legible. The conception of the process was through the compilation of bibliographic sources that show the historical burden of the central elements of the work. The artistic installation, being one of the most versatile branches of contemporary art, provides the necessary tools for an interpretation more linked to the community and creative expression, whose first precedents inspire and contribute to the design format and the dynamics to implement, mentioning artists such as Kurt Schwitters and Allan Kaprow, among their works that define the historical context. Complementing the first part of the investigation, it seeks to evidence the participation and implementation of precedents, which inspire and lead to a more specific resolution for the public and its relationship with the cultural context applied to the proposal. Several artistic installations were exposed in different places, such as Quito, Guayaquil, Loja, and El Oro. The second chapter will define the sources of design through the historical and contextual references that precede the installation as an artistic element. Besides, the definition of the work contains the technical and material aspects, defined during the referencing process where the precedents influenced the dynamic and material capacities of the composition, the exact location of the place selected for the exhibition described, in the end, the measurements or technical sheet that describes the dimensions of the pieces used to define the work. The work defines its critical and central ideas in the second half of this chapter, where the main ideas and philosophical movements to which the artwork belongs are described in more detail, being one of the fundamental pillars of the project, it is much more central in exposing the critical thinking than by anticipating the viewer's reaction. The tree chapter is the most practical part of the project, referring to the third chapter, where the process is composed through the photographic evidence obtained during the construction phases of the pieces that will make up the installation. To sum up, we will discuss the ideas that began to shape the project in a conceptual way, as well as a mention of the results obtained in its execution. The conclusions obtained at the end described objectives and their continuous results to the process. Last but not least, the part mentioned both at the beginning and the end of its development.