A School Made of Acts. The School of Valparaiso and the Open City of Amereida, Chile
| Título | A School Made of Acts. The School of Valparaiso and the Open City of Amereida, Chile |
|---|---|
| Año | 2016 |
| Autor | Oscar Andrade, Jaime Reyes |
| Tipo de Publicación | Artículo en Revista Académica |
| Revista | Performance Research. A Journal of the Performing Arts |
| Indexación | ISI |
| Editorial | Taylor & Francis |
| Edición | 21 |
| Ciudad | Ceredigion Wales, UK |
| Páginas | 38-43 |
| Línea | Formación y Oficio |
| URL | http://dx.doi.org/10.1080/13528165.2016.1239907 |
| Carreras Relacionadas | Arquitectura, Diseño, Diseño Gráfico"Diseño Gráfico" is not in the list (Arquitectura, Diseño, Magíster, Otra) of allowed values for the "Carreras Relacionadas" property., Diseño Industrial"Diseño Industrial" is not in the list (Arquitectura, Diseño, Magíster, Otra) of allowed values for the "Carreras Relacionadas" property., Náutico y Marítimo"Náutico y Marítimo" is not in the list (Arquitectura, Diseño, Magíster, Otra) of allowed values for the "Carreras Relacionadas" property., Ciudad y Territorio"Ciudad y Territorio" is not in the list (Arquitectura, Diseño, Magíster, Otra) of allowed values for the "Carreras Relacionadas" property. |
Resumen
Re-founded in 1952 by a group of architects, artists and poets; the School of Valparaíso represents one of the most long-lasting and original experimental artistic experiences in the Latin American context.The article comments on a fundamental aspect of the School approach: the lived structure of Acts that organizes and gives shape to its creative experience and learning ambit—a continuous rhythm of Acts, structuring the spheres of life, work and study.The authors propose that one of the particular dimensions constructed by this practice is to summon and situate the work at the centre of the School quests. The article develops the idea that it is exactly through the work that the School seems to fulfil its role, transforming ourselves into the crafts. In 1952 a group of architects, artists and a poet re-founded the School of Architecture at the Catholic University of Valparaiso in Chile.11 The group was composed of the architects Alberto Cruz, Jaime Bellalta, Arturo Baeza, José Vial, Fabio Cruz and Miguel Eyquem; the painter Francisco Méndez; the poet Godofredo Iommi and the sculptor Claudio Girola.View all notes Their creative endeavour, oriented by the Rimbaudean notion of modernity understood as the love for the unknown, was to be centred on the inaugural relation between poetry and architecture.22 This position concerning modernity was developed by Godofredo Iommi during a master class held in 1982 titled ‘One must be absolutely modern’. (Iommi1982aIommi, Godofredo (1982a) Hay que ser absolutamente moderno [One must be absolutely modern], Viña del Mar:Taller de Investigaciones Gráficas, Escuela de Arquitectura UCV.)View all notes This position impregnated every aspect of the School’s plan of studies, leading to the invention of new academic structures that could accommodate this novel point of view regarding crafts and their training. The present article aims to account for one of the fundamental structures articulating the formative experience in the School of Valparaiso: a rhythm of acts – performance actions arranging the time of formation where the training in the crafts of architecture, industrial and graphic designs elapses. The text will start by introducing the notion of act as practised within the School of Valparaiso, followed by a discussion of its role as enabler of a particular ambit in which the formative experience occurs through ‘being-at-work’.33 See the French philosopher François Fédier on the Aristotelian understanding of energeia in which the being can reach its greater plenitude by being-at-work. A notion explained by Godofredo Iommi during his ‘One must be absolutely modern’ masterclass (Iommi1982aIommi, Godofredo (1982a) Hay que ser absolutamente moderno [One must be absolutely modern], Viña del Mar:Taller de Investigaciones Gráficas, Escuela de Arquitectura UCV.: 15).View all notes Some of the most representative acts performed by the School will be briefly explained along the way. Finally, some closing reflections will be drawn concerning the reach and significance of this ambit of acts as an ethical structure through which formation in crafts can take place. The relationships between act, work and formation developed in this article should not be taken as rigid terms nor as an attempt to define any kind of pedagogical method, but as a current meditation on an open question in continuous transformation, which is part of the School’s renewed tradition.44 In a lecture by Godofredo Iommi held in 1981, the poet defined tradition by heredity as ‘an invitation to recreate it, as if its emergence was its very being’ (Iommi 1982bIommi, Godofredo (1982b) Eneida-Amereida [Aeneid-Amereida], Viña del Mar: Taller de Investigaciones Gráficas Escuela de Arquitectura PUCV.: 2).View all notes. We would also like to point out that we speak in these pages from a position inside a School that is a collective undertaking that surpasses us largely both in years and in number, and at the same time incorporates our personal path as constitutive of its ongoing construction. We move then in multiple directions sharing one route.
