El concepto “artistic research” expresa la íntima conexión entre arte e investigación en el trabajo de los artistas con formación universitaria. El blog: “Investigación, arte, universidad. Documentos para un debate” nace a partir de dos Proyectos de Innovación Educativa, dentro de la Facultad de Bellas Artes de la Universidad Complutense de Madrid, como seminario permanente de reflexión en torno a estas cuestiones, abierto a los estudiantes del Máster en Investigación en Arte y Creación [MIAC]. Fruto de este seminario ha sido la publicación del libro: Investigación artística y Universidad: materiales para un debate, Selina Blasco (ed.), Ediciones Asimétricas, Madrid, 2013; con la participación de: Aurora Fernández Polanco, Beatriz Fernández Ruiz, Helena Grande, Lila Insúa Lintridis, Javier Ramírez Serrano y Alejandro Simón.


The notion of “artistic research” addresses the close connection between art and investigation within the work of artists trained in universities. This blog originates from two Projects of Innovation in Education at the School of Fine Arts (Facultad de Bellas Artes) of Universidad Complutense the Madrid. It functions as a continuous semminar fostering both debate and reflection upon issues related to artistic research and as an open forum for the students of UCM’s Master in Artistic and Creative Research (Máster en Investigación en Arte y Creación [MIAC]). As a result of this semminar, we have published a compilation of essays on artistic research edited by UCM’s professor Selina Blasco. Entitled, Investigación artística y Universidad: materiales para un debate (Madrid: Ediciones Asimétricas, 2013), it includes texts by Aurora Fernández Polanco, Beatriz Fernández Ruiz, Helena Grande, Lila Insúa Lintridis, Javier Ramírez Serrano, and Alejandro Simón.

Intensifying Theory Production The School of the Missing Teacher -- Gerald Raunig

In 1974 in London Gustav Metzger, the stateless artist and inventor of auto-destructive art, called for a special kind of strike, a three-year art strike. In the pithy manifesto-like language of the early 1970s, he appealed to his colleagues that for a period of three years – from 1977 to 1980 – they should not produce works, sell works, permit work to go on exhibitions, and refuse collaboration with any part of the “publicity machinery of the art world”.[1] Barely twenty-five years later, in an interview with the art historian Justin Hoffmann, Metzger emphasized the productive side of the strike: not only the cessation of artistic work, the pure negation of art, the destruction of the art system were the aims of the art strike, but rather building up the “critical potential”, creating a different understanding of one’s own practice, as well as a different place of art in society, but most of all and as a precondition for all of this: “intensifying theory production”

Más en: http://eipcp.net/transversal/1210/raunig/en