<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2477-9199</journal-id>
<journal-title><![CDATA[Índex, revista de arte contemporáneo]]></journal-title>
<abbrev-journal-title><![CDATA[Índex]]></abbrev-journal-title>
<issn>2477-9199</issn>
<publisher>
<publisher-name><![CDATA[Pontificia Universidad Católica del Ecuador]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2477-91992025000100012</article-id>
<article-id pub-id-type="doi">10.26807/cav.v10i19.641</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[ECOSISTEMAS ARTÍSTICOS: ACTANTES, PENSAMIENTO TENTACULAR Y NUEVAS MATERIALIDADES]]></article-title>
<article-title xml:lang="en"><![CDATA[ARTISTIC ECOSYSTEMS: ACTANTS, TENTACULAR THINKING AND NEW MATERIALITIES]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Santamaria]]></surname>
<given-names><![CDATA[Cristina]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Independiente  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Ecuador</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>11</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>11</month>
<year>2025</year>
</pub-date>
<numero>19</numero>
<fpage>134</fpage>
<lpage>143</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_arttext&amp;pid=S2477-91992025000100012&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_abstract&amp;pid=S2477-91992025000100012&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.senescyt.gob.ec/scielo.php?script=sci_pdf&amp;pid=S2477-91992025000100012&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo sintetiza la investigación de titulación Ecos Vivarium, desarrollada en la Escuela de Artes Visuales &#8211; Itinerario Curaduría &#8211; de la Universidad de las Artes de Guayaquil. Se analiza cómo la curaduría contemporánea ha trascendido la mera selección y exhibición de obras para constituirse en un espacio de producción de conocimiento y convergencia disciplinaria. A partir del estudio de las exposiciones Todos los caminos llevan aquí (Galería CIF, Mz14, Guayaquil, 2024) y Ecos Vivarium (Casa de las Posadas, Red de Casas Patrimoniales, Cuenca, 2024), se reflexiona sobre la incorporación de materia viva en proyectos de arte contemporáneo, sugiriendo la necesidad de diversificar los debates bioéticos y enfatizar la agencia de lo no humano. La investigación se sustenta en referentes teóricos como Haraway (2016), Bennett (2010) y Bal (2002), quienes aportan un pensamiento tentacular que interrelaciona diversas materialidades y amplía las posibilidades interpretativas. En este sentido, se propone que la experiencia curatorial, al articular espacio, imagen y narrativa, favorece la construcción de significados abiertos y la transformación de las prácticas artísticas, expandiendo así las capacidades investigativas en el arte contemporáneo.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article synthesizes the research project Ecos Vivarium, developed within the Visual Arts School &#8211; Curatorial Studies Itinerary &#8211; at the Universidad de las Artes in Guayaquil. It examines how contemporary curatorship has transcended the mere selection and exhibition of artworks to become a space for knowledge production and interdisciplinary convergence. Through the study of the exhibitions Todos los caminos llevan aquí (Galería CIF, Mz14, Guayaquil, 2024) and Ecos Vivarium (Casa de las Posadas, Red de Casas Patrimoniales, Cuenca, 2024), the research reflects on the incorporation of living matter in contemporary art projects, highlighting the need to diversify bioethical debates and emphasize non-human agency. The study is grounded in theoretical frameworks by Haraway (2016), Bennett (2010), and Bal (2002), whose contributions shape a tentacular approach that interconnects multiple materialities and expands interpretative possibilities. In this regard, the article argues that curatorial practice, by integrating space, image, and narrative, fosters the construction of open meanings and transforms artistic practices, thus broadening the investigative potential of contemporary art.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[ecosistemas artísticos]]></kwd>
<kwd lng="es"><![CDATA[actantes]]></kwd>
<kwd lng="es"><![CDATA[pensamiento tentacular]]></kwd>
<kwd lng="es"><![CDATA[nuevas materialidades]]></kwd>
<kwd lng="es"><![CDATA[agencia no humana]]></kwd>
<kwd lng="es"><![CDATA[ontología social]]></kwd>
<kwd lng="es"><![CDATA[ecocrítica]]></kwd>
<kwd lng="es"><![CDATA[posthumanismo]]></kwd>
<kwd lng="es"><![CDATA[nuevos materialismos]]></kwd>
<kwd lng="en"><![CDATA[artistic ecosystems]]></kwd>
<kwd lng="en"><![CDATA[actants]]></kwd>
<kwd lng="en"><![CDATA[tentacular thinking]]></kwd>
<kwd lng="en"><![CDATA[new materialities]]></kwd>
<kwd lng="en"><![CDATA[nonhuman agency]]></kwd>
<kwd lng="en"><![CDATA[social ontology]]></kwd>
<kwd lng="en"><![CDATA[ecocriticism]]></kwd>
<kwd lng="en"><![CDATA[posthumanism]]></kwd>
<kwd lng="en"><![CDATA[new materialisms]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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</article>
