La pintura expandida como paradigma y experiencia en la enseñanza superior de las artes

Expanded painting as a paradigm and experience in higher arts education

Abstract

Since the emergence of new digital technologies as a global phenomenon and with the appearance of new industrially synthesized materials, the field of painting has been experiencing a paradigm shift in its artistic practice.

This change is centred on the effect, which has gone from the reality of nature to the new digital virtual reality. If we understand the pictorial practice from the reality of nature as a simulacrum of reality, the pictorial practice from the digital virtual reality, no longer simulates, but presents a new reality in painting.

It is a fact that the digital environment produces remarkable changes in social behaviours, consequently and as a reflection of society, these do not go unnoticed in the pictorial practice in higher education in the arts.

In this sense, and as a reference, we have the pictorial works Peter Halley and Fabián Marcaccio; these works are a clear example of pictorial practices created from this new digital reality. In Halley's case, from a conceptual vision of the digital phenomenon and its social influence and, in Marcaccio's case, from the use of software and digital hardware for pictorial creation.

Concepts and methods in the practical application of new systems for the creation of a painting referenced to the digital environment, which places us in front of what is currently referred to as expanded painting. A painting that in many cases frees itself of support to develop within itself.