https://hdl.handle.net/10481/13693 Thu, 16 Apr 2026 07:53:11 GMT 2026-04-16T07:53:11Z https://hdl.handle.net/10481/111678 Ósmosis entre dos I. III Certamen Internacional de pintura Manuel Ángeles Ortiz 2018 Gallego Martínez, Maria Dolores Catálogo de las obras finalistas y premiadas del III Certamen Internacional de pintura Manuel Ángeles Ortiz 2018 de la Universidad de Jaén, dentro del marco de los Premios de Creación Artística y Literaria. Con este certamen, la UJA fomenta el uso de nuevos medios y lenguajes y explorar innovadoras fórmulas de conocimiento. En esta edición se presentaron 39 artistas procedentes de toda España. De entre todas ellas, el jurado seleccionó 13 para la exposición, que también se pueden ver en dicho libro. En este caso, se publica el premio de adquisición de este año que se otorgó a artista giennense menor de 35 años: María Dolores Gallego, por su obra Ósmosis entre dos I (140 x 140 cm).; Catalogue of the finalists and winners of the 3rd Manuel Ángeles Ortiz International Painting Competition 2018 at the University of Jaén (Spain), as part of the Artistic and Literary Creation Awards. With this competition, the UJA promotes the use of new media and languages and explores innovative forms of knowledge. In this edition, 39 artists from all over Spain submitted their work. Of these, the jury selected 13 for the exhibition, which can also be seen in this book. In this case, this year's acquisition prize, awarded to an artist from Jaén under the age of 35, is published: María Dolores Gallego, for her work Ósmosis entre dos I (140 x 140 cm). https://hdl.handle.net/10481/111678 https://hdl.handle.net/10481/111649 FACBA’14. VI Feria de Arte Contemporáneo de la Facultad de Bellas Artes Mazuecos Sánchez, Amalia Belén; Gallego Martínez, María Dolores La publicación FACBA’14. VI Feria de Arte Contemporáneo de la Facultad de Bellas Artes, constituye un catálogo razonado que documenta la sexta edición de esta feria universitaria, consolidada como plataforma de mediación entre la creación emergente y el sistema del arte. Editada por la Universidad de Granada, la obra recoge las propuestas de diez espacios expositivos —galerías comerciales y centros independientes— y visibiliza el trabajo de jóvenes artistas (estudiantes destacados de la facultad). Estructurada en torno a la transferencia del conocimiento artístico, la publicación incluye textos críticos del Director del Centro de Cultura Contemporánea y del Decano de la Facultad, así como una presentación de la Vicedecana de Extensión Cultural, Belén Mazuecos, quien subraya el valor de iniciativas que conectan la academia con el exterior. Concretamente en esta parte del catálogo publicado, se presenta la obra “Textiles Alhambrescos XIX” de María Dolores Gallego seleccionada para participar en la feria.; The publication FACBA’14. VI Contemporary Art Fair of the Faculty of Fine Arts is a catalogue raisonné documenting the sixth edition of this university fair, which has established itself as a platform for mediation between emerging creation and the art system. Published by the University of Granada, the work brings together the proposals of ten exhibition spaces—commercial galleries and independent centres—and showcases the work of young artists (outstanding students from the faculty). Structured around the transfer of artistic knowledge, the publication includes critical texts by the Director of the Centre for Contemporary Culture and the Dean of the Faculty, as well as a presentation by the Vice-Dean of Cultural Extension, Belén Mazuecos, who highlights the value of initiatives that connect academia with the outside world. Specifically, this part of the published catalogue presents the work ‘Textiles Alhambrescos XIX’ by María Dolores Gallego, selected to participate in the fair. https://hdl.handle.net/10481/111649 https://hdl.handle.net/10481/111422 Orígenes. María Dolores Gallego Gallego Martínez, María Dolores; Del Moral, Antonio; Gallego Lendínez, Rosa Belén; Scheroff, Miguel El catálogo "Orígenes" documenta la exposición individual homónima de María Dolores Gallego, celebrada del 11 de noviembre al 20 de diciembre de 2023 en la Galería AZUR (Jaén, España). La exposición, comisariada por Antonio Del Moral, reúne textos críticos de Rosa Lendínez (Doctora en Bellas Artes por la Universidad de Barcelona y profesora de la UB) y Miguel Scheroff (artista e investigador), quienes analizan la trayectoria de Gallego —profesora del Departamento de Pintura de la Universidad de Granada— desde sus inicios hasta 2023. Los ensayos destacan su metodología de investigación-creación basada en la hibridación entre arte, artesanía y diseño textil, así como su capacidad para integrar referencias culturales andaluzas en un lenguaje pictórico contemporáneo. El catálogo documenta una exquisita selección de obras fundamentales de la artista de los proyectos pictóricos "Animales Hilvanados" y "Textiles Alhambrescos", obras que han sido exhibidas previamente en España, Italia y Estados Unidos. Estos cuadros evidencian su innovación metodológica al trasladar procesos textiles tradicionales (como el bordado con hilo o la estampación en bloque sobre tejidos) al plano pictórico como medio para reflexionar sobre identidad, territorio y memoria. La publicación incluye reproducciones de las obras expuestas con sus correspondientes fichas técnicas, así como la biografía artística de Gallego, que acredita una trayectoria consolidada con más de ochenta exposiciones nacionales e internacionales, estancias de investigación en centros de Atenas, Roma, Milán, São Paulo y Bucarest, y los premios obtenidos hasta el momento. El catálogo constituye, por tanto, un documento de referencia para el estudio de la creación contemporánea en el ámbito de la pintura desde la práctica textil y su vinculación con la investigación universitaria.; The catalogue "Orígenes" documents the eponymous solo exhibition by María Dolores Gallego, held from November 11 to December 20, 2023, at the AZUR Gallery (Jaén, Spain). The exhibition, curated by Antonio Del Moral, brings together critical texts by Rosa Lendínez (PhD in Fine Arts from the University of Barcelona and professor at the UB) and Miguel Scheroff (artist and researcher), who analyze Gallego's career —as a professor in the Department of Painting at the University of Granada— from her beginnings up to 2023. The essays highlight her research-creation methodology based on the hybridization of art, craftsmanship, and textile design, as well as her ability to integrate Andalusian cultural references into a contemporary pictorial language. The catalogue documents an exquisite selection of the artist's fundamental works from the pictorial projects "Animales Hilvanados" (Basted Animals) and "Textiles Alhambrescos" (Alhambresque Textiles), works that have previously been exhibited in Spain, Italy, and the United States. These paintings evidence her methodological innovation by transferring traditional textile processes (such as embroidery with thread or block printing on fabrics) to the pictorial plane as a means of reflecting on identity, territory, and memory. The publication includes reproductions of the exhibited works with their corresponding technical details, as well as Gallego's artistic biography, which attests to a consolidated career with over eighty national and international exhibitions, research stays at centers in Athens, Rome, Milan, São Paulo, and Bucharest, and the awards received to date. The catalogue therefore constitutes a reference document for the study of contemporary creation in the field of painting through textile practice and its connection to university research. https://hdl.handle.net/10481/111422 https://hdl.handle.net/10481/111413 Circles of recognition in Andalusia: a study of the artistic careers of two different generations of artists Gallego Martínez, María Dolores The current emerging and contemporary art passes all artworks and artists through filters, institutional controls, specialist of art or/and public. It is during this process, when they acquire value (artistic and economic) and meaning. Furthermore, the current period of crisis, technological advances and the socio-cultural and political transformations is modifying the traditional artist practice. Therefore, the investigation is a study of established relationships among diverse stakeholders (artists, collectors, gallerists, collectors, curators, critics) in the Andalusian context. The article studies career trajectories of a group of emerging and contemporary visual artists (20) of two different generations ( the first generation: born at the end of the sixties and at the beginning of the seventies / the second generation: the end of the seventies and during eighties) to analyze the specific characteristics and changes of artistic trajectories to each generation. The comparison of two generations of artists reflects the evolution of the emerging and contemporary art system in Andalusia and help to understand a specialist and unknown sector with its own rules. Young artists have to position themselves. As result, it possible to consider the development in the Andalusian art system has occurred in the last fifteen years. There are negative and positive aspects as: the significant dwindling of awards, artwork purchases, and grants and financial aid for creative output for artists, current proliferation of franchise museums, contemporary art galleries closed (regional and national reputation), new roles of artist in the art system and the creation of Union of Visual Artists of Andalusia-uavA among others issues. I would like to emphasize that Emerging artists are facing a competitive situation. They are competitors, having to promote and circulate their work themselves using online marketing strategies to turn themselves into a brand or a product. https://hdl.handle.net/10481/111413 https://hdl.handle.net/10481/111409 Si el Arte puede ser una guerra, el Ateliê Fidalga es un punto neutro Gallego Martínez, María Dolores El presente artículo analiza el Ateliê Fidalga de São Paulo (Brasil) como un modelo paradigmático de espacio alternativo y laboratorio artístico colaborativo autogestionado por artistas. La investigación, desarrollada durante una estancia en la Universidad de São Paulo, emplea una metodología interdisciplinar basada en historias de vida y entrevistas en profundidad con los agentes implicados, otorgando voz a los propios artistas como sujetos activos del sistema del arte. Fundado en el año 2000 por los artistas Albano Afonso y Sandra Cinto, el Ateliê Fidalga se configura como un espacio híbrido que combina estudios de artistas con un Grupo de Estudios semanal donde confluyen creadores de diferentes generaciones y disciplinas. Este grupo funciona como un laboratorio pedagógico colaborativo que complementa la formación académica mediante el debate y la experimentación, priorizando los procesos creativos frente a las lógicas del mercado. El estudio evidencia la importancia de las redes de relaciones personales y profesionales que se tejen en estos espacios, las cuales operan como plataformas de visibilidad y reconocimiento tanto en el contexto local paulista como en la escena internacional. La experiencia del Ateliê Fidalga se enmarca dentro de un fenómeno más amplio de autoorganización artística que emerge como respuesta a las crisis institucionales y económicas, generando nuevas formas de producción cultural basadas en la horizontalidad, el aprendizaje entre pares y la construcción de lo común. Se concluye que estos laboratorios colaborativos constituyen instituciones fundamentales para la creación contemporánea, donde el éxito artístico se entiende como un logro colectivo del ecosistema del arte en su conjunto.; This article analyzes the Ateliê Fidalga in São Paulo (Brazil) as a paradigmatic model of an alternative space and collaborative artistic laboratory self-managed by artists. The research, developed during a stay at the University of São Paulo, employs an interdisciplinary methodology based on life histories and in-depth interviews with the agents involved, giving voice to the artists themselves as active subjects within the art system. Founded in 2000 by the artists Albano Afonso and Sandra Cinto, the Ateliê Fidalga is configured as a hybrid space that combines artists' studios with a weekly Study Group where creators from different generations and disciplines converge. This group functions as a collaborative pedagogical laboratory that complements academic training through debate and experimentation, prioritizing creative processes over market logics. The study evidences the importance of the networks of personal and professional relationships woven in these spaces, which operate as platforms for visibility and recognition both in the local São Paulo context and on the international scene. The experience of Ateliê Fidalga is framed within a broader phenomenon of artistic self-organization that emerges as a response to institutional and economic crises, generating new forms of cultural production based on horizontality, peer learning, and the construction of the common. It is concluded that these collaborative laboratories constitute fundamental institutions for contemporary creation, where artistic success is understood as a collective achievement of the art ecosystem as a whole. https://hdl.handle.net/10481/111409