Dissertations / Theses on the topic 'Ana Mendieta'

La carrera artística de Ana Mendieta se enmarca dentro de los movimientos estéticos de la segunda mitad del siglo XX. El primitivismo en el arte es uno de ellos. Esta investigación estudia en profundidad cómo fue su primitivismo, pasando por el análisis formal de algunas de sus obras con influencias directas del arte africano, hasta llegar a un desarrollo teórico sobre la performance ritual que amplía el primitivismo como un recurso del arte más allá del objeto estético. El contexto histórico durante la formación académica de Ana Mendieta y su paso por Nueva york son las claves que proporcionan una visión de sus obras hasta ahora inédita. La aplicación de una metodología comparativa ha permitido establecer conexiones entre el arte, la antropología, la arqueología, la historia colonial de España, la historia de las religiones y el feminismo.<br>The career of Ana Mendieta is part of the aesthetic movements of the late twentieth century. Primitivism in art is one of them. This research examines in depth how her primitivism was, from the formal analysis of some of her artworks directly influenced by African art, to developing a theoretical rationale of the ritual performance that extends primitivism as an artistic resource beyond the aesthetic scope. The historical context behind the academic training of Ana Mendieta and the time she spent in New York are the keys that provide a glimpse into her hitherto unpublished works. The application of a comparative methodology has allowed to establish connections amongst art, anthropology, archeology, colonial history of Spain, the history of religion and feminism

Artist Ana Mendieta frequently conjoined the female body with nature to express her search for personal identity and support for feminist topics. Her last intended and least scholarly examined work, La Maja de Yerba (Grass Goddess), continues specific visual and thematic elements of her previous Silueta Series (Silhouette) yet also presents an aesthetically unique creation. Despite its incompletion as a result of her premature death, the preserved maquette directly stipulates a female form to be planted in grass on the Bard College campus grounds. This alignment of women and nature garners criticism for its reliance on universalism and categorizations of women’s experiences; however, Mendieta’s use of essentialism in public art contributes to circulating feminist discourse to a wider audience. This paper considers the artistic influences, thematic concepts, and employment of strategic essentialism in Mendieta’s La Maja de Yerba.

A partir des réflexions plastiques, cette recherche vise à étudier des liens entre la violence et l’art contemporain. La violence s’inscrit dans différentes perspectives. Elle est d’abord une force physique qui génère un certain nombre d’effets tangibles. Ensuite elle est un concept qui permet aux philosophes, psychologues, écrivains et artistes d'explorer un vaste champ de recherche dans leurs domaines. La première partie va étudier l’histoire de l’art visuel du XIe siècle à nos jours et ensuite porte un regard sur l'art figuratif en Iran, La deuxième partie vise à étudier l’usage du corps dans l’art contemporain, notamment dans l'installation, en tant que sujet de violence physique, en nous basant sur les faits historiques et psychologiques. La troisième partie, consacrée à la performance, permettra d’analyser des représentations d’actes violents dans les œuvres d’artistes femmes en particulier, et révèlera le rôle essentiel de la violence sur nos concepts visuels. Ensuite, dans la dernière partie, qui traite de l'art vidéographique, nous examinerons les vidéos dont la violence est vue comme une action permanente qui, de plus, portent une réflexion sur les artistes et nous permet de s’intéresser à des œuvres plus récentes<br>From the plastic reflections, this research aims to study links between violence and contemporary art. Violence has different perspectives. It is primarily a physical force that generates numbers of tangible effects. Then it is a concept that allows philosophers, psychologists, writers and artists to explore a vast field of research in their domain.The first part is going to study the history of visual art from the XIth century to our days and then take a look at the figurative art in Iran. The second part aims to study the use of the body in contemporary art, especially in installation, as the subject of physical violence based on historical and psychological facts. The tird part, dedicated to performance, will analyze representations of violent acts in artistical works and reveals the essential role of violence on our visual concepts. Then, in the last part, which speak about video art, we will examine videos where the violence is a permanent action that, moreover, reflect on the artists and allows us to take an interest in more recent works

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Humanities

En 1894, l’écrivaine espagnole Emilia Pardo Bazán descend dans la grotte d’Altamira pour aller voir de ses propres yeux les peintures pariétales qu’elle contient, et en rapporter un témoignage littéraire – alors que la communauté scientifique internationale ne les reconnaît pas encore. Au fil du XXe siècle, et surtout après la découverte de Lascaux en 1940, tout un cortège d’écrivains et d’artistes lui emboîte le pas sans le savoir, s’engouffre sous terre et s’affilie à la préhistoire, de Joan Miró et Georges Bataille à Hubert Duprat ou Clayton Eshleman. En confrontant de nombreux vestiges préhistoriques (« arts » pariétal et mobilier, gravures rupestres, mégalithes) du Paléolithique, Mésolithique et Néolithique, à un vaste corpus d’œuvres qui leur répondent en littérature (romans, poèmes, essais) et dans les arts plastiques (peintures, sculptures, installations, performances), on cherche à voir comment la préhistoire est entrée, à titre individuel et collectif, dans l’œil, le cœur et l’esprit des créateurs et, plus généralement, comment elle a intégré le « musée imaginaire » occidental. Nous émettons l’hypothèse que la découverte de formes d’« arts » préhistoriques a grandement contribué à l’affection générale pour la préhistoire, qui a donc gagné la mémoire collective occidentale au moins autant par l’approche esthétique que scientifique. On s’intéresse à la dialectique entre apprivoisement culturel et perturbations du savoir, induits par la révélation préhistorique. Le premier mouvement de reconnaissance se double ainsi de dispositifs artistiques de défamiliarisation, à même de restituer l’étrangeté préhistorique. Ce travail se demande enfin comment les œuvres, depuis leurs moyens plastiques et littéraires, nourrissent un questionnement anthropologique sur le devenir-humain<br>In 1894, the Spanish writer Emilia Pardo Bazán visited the Altamira cave to see with her own eyes the parietal paintings it contains and brought back a literary testimony from underground, at a time when the international scientific community did not even recognize this type of paintings. Throughout the 20th century, and especially after the discovery of Lascaux in 1940, a great variety of writers and artists, such as Joan Miró, Georges Bataille, Hubert Duprat or Clayton Eshleman, unknowingly followed her path, explored what lay underneath their feet and thus became familiar with prehistory. By confronting numerous prehistoric vestiges (parietal “arts”, artefacts, rock engravings or megaliths) from the Paleolithic, Mesolithic and Neolithic periods, with a vast body of works that respond to them in literature (novels, poems, essays) and in visual arts (paintings, sculptures, installations, performances), we attempted to see how prehistory has progressively occupied a privileged position in the hearts and minds of creators and, to a larger extent, how it has become a part of the Western “Imaginary museum”. We assume that the discovery of prehistoric “art” forms has greatly contributed to the general attachment to prehistory, which has thus become part of Western collective memory at least as much through its aesthetic as through its scientific approach. We dealt with the dialectic between cultural domestication and disruption of knowledge induced by prehistoric revelation. The first movement of recognition is also combined with artistic devices of defamiliarization, capable of revealing prehistoric strangeness. Finally, this thesis questions how the works, thanks to their plastic and literary means, nourish an anthropological research on human-becoming

The Cuban-born artist Ana Mendieta (1948-1985) created the Silueta Series during the 1970s and ‘80s. It consists of earth-body works in situ featuring the silhouette of the artist's body fashioned from mud, plants, rocks, gunpowder and other materials. Underlying the creation of the Silueta Series is Mendieta's belief that the elements are sentient and powerful beings. This perception is particularly strong in the Afro-Cuban religion Santeria, a creolized form of the Òrìsà tradition of the Yoruba of West Africa introduced to the Americas during the trans-Atlantic slave trade. While scholars have noted Mendieta's incorporation of Santeria in her art, a thorough analysis of the iconographical references to the deities have yet to be explored. This thesis aims to provide such an analysis of Mendieta's works; thus enriching the current discourse on the Silueta Series.

Comment la notion de différence des sexes, qui structure notre rapport au monde et à l'autre, pourrait-elle ne pas travailler les domaines de l'art et du mythe ? Loin d'en être absente, cette question est implicitement - et parfois explicitement - au cœur des structures mythiques et artistiques. Postuler un travail du mythe dans l'art contemporain oblige à évaluer le liens et les écarts entre rapports sexués et figurations de ces rapports. Une approche anthropologique et sociale paraît nécessaire pour prendre en compte le sens produit par les œuvres mais aussi ce qu'une société véhicule d'images identificatoires. L'art et les mythes sont-ils sexués ? Leur prétention à l'universalité suffit à installer le doute. Modes d'expression «libre», ne doivent-ils pas précisément être interrogés ? Outils d'instauration et de perpétuation d'un système de pensée dominant, ne pourraient-ils cependant être le lieu d'une appropriation et d'une possible déconstruction ?<br>How does gender differences, wich structures our relationship to the world and to the other, could not shape the fields of art and myth ? Far from being absent, this implicitly - and sometimes explicitly - is at the heart of mythical and artistic structures. Postulating a "work" of the myth in contemporary art requires an evaluation of the links and the gaps between gender relationships and its representations. A social and anthropological approach seems necessary to take into consideration the meaning that works of art produce as well as identificatory images conveyed by society. Do art and myths have a gender ? Their claim to universality is sufficient to instill doubt. As "free" modes of expression, should they not be questionned ? As institution and perpetuation tools of a dominant thinking system, could they not however also be the place for an appropriation and possible deconstruction ?

La presente tesis está dividida en un bloque teórico y un bloque práctico. En la parte teórica se realiza un estudio referencial, análisis y discusión de una serie de creaciones artísticas pertenecientes a la época de los años 60 y 70 mayoritariamente en EE UU y minoritariamente en Europa, que hacen uso de la imagen en movimiento monocanal y el cuerpo en acción en la naturaleza con carácter site-specific. En la parte práctica se realiza una obra videográfica que trabaja a partir de los mismos elementos de las obras de estudio desde un punto de vista actual y dentro de la línea de creación personal de la autora, aportando temáticas, motivaciones, procesos creativos y recursos formales que complementan y dan continuidad a la investigación teórica, al tiempo que enriquecen la línea de trabajo personal. Por lo que hemos podido comprobar, no tenemos constancia de que se haya realizado una investigación que analice y compare las distintas aproximaciones a las obras de nuestro estudio desde un punto de vista unitario, sino que han permanecido consideradas como piezas aisladas en muchos casos, dentro de las trayectorias de los propios artistas y sin atender al denominador común que todas ellas comparten. En el bloque teórico se acota el marco conceptual que delimita la temática a la que nos enfrentamos, a la vez que se muestra un recorrido por los puntos más importantes de la investigación, claves a la hora de analizar, discutir y concluir acerca de las creaciones. Estos puntos son los siguientes: La naturaleza como lugar; el cuerpo en acción: performance y danza site-specific; y la imagen en movimiento: cine y vídeo monocanal, entre testimonio y creación. Una vez aplicado el marco teórico, se acomete un estudio referencial que aborda el contexto artístico de la época, una serie de obras periféricas en relación con la investigación, y finalmente las obras destacadas de la tesis. Se realiza un visionado y un análisis completo de las obras destacadas a través de una metodología de análisis creada específicamente en esta investigación para este tipo de piezas. Y se concluye con una discusión que profundiza en el estudio transversal de las obras, el marco teórico, el contexto y las periferias, poniendo a disposición de la comunidad investigadora una visión inédita sobre estas creaciones, y una serie de conclusiones novedosas acerca de la temática.<br>Ontiñano Abadías, MC. (2014). Cuerpo en acción, imagen en movimiento y naturaleza en el arte de EE UU y Europa durante los años 60-70, con caracter site-specific. Estudio referencial, análisis y proyecto personal [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/36868<br>TESIS

碩士<br>國立高雄師範大學<br>美術學系<br>104<br>‘’Fall’’ as a visual symbol, in different cultural context, it carries different cultural meaning. The author found that the female artists often use ‘’fall’’ and other low- stance as visual languages to build female private space, and represented female social situation. The thesis takes the works of Ana Mendieta, Cindy Sherman, Isa Ho as texts for research and analysis for its creative strategy about ‘’fall’’, and sorted out the development of women’s art. Mendieta wrote her text contrary to the male established artistic taste and absorbs creative inspiration from the earth. On the other hand, Sherman overturned the old ways of seeing patriarchy with ‘’abjection’’, thereby disturbing symbolic order and regaining subjectivity. After the wave of feminism revolution receded, the femininity of contemporary visual culture also responded post-feminism. For example, Isa Ho’s works have high similarities to commercial images. It established a paternal affectivity space through adoring and catching the phallic symbol. In the development of contemporary women’s art, ‘’parody performance’’ and ‘’abject behavior’’ are no longer main-stream strategies. It gradually replaced by images that are filled with substantial symbols. In order to respond to affection issues of post-feminism, females fall down autonomously as their seeing ways of crooked angle. On the other hand, they attach their affection on the substantial symbols of phallus, replacing women's social frustrations, so that it can construct contemporary female privacy and inside-affectivity space.

Many scholars have considered Cuban American artist Ana Mendieta to be a translator of Afro-Cuban culture. In her 2019 monograph on the artist, for example, Genevieve Hyacinthe writes: “brownness made Mendieta a powerful translator of Black Atlantic forms into contemporary art language because she was not, and could never be, part of the dominant white culture.” Mendieta also announced herself as a translator (and inheritor) of Siboney and Taino cultures. Her gallery notes that to celebrate her return to Cuba’s “maternal breast” as an adult, the artist titled the rock carvings she made there with “names of zemis, or Taíno spirits, such as Bacayu for ‘Light of Day.’” I argue that alongside her claims on Taino cultural heritage we might consider her actual ancestry and claims on Indigenous women in the art of Cuban settlers before her. My dissertation considers Mendieta as a translator not of Taino myths or Black cultural practices but of ethnological texts and nationalistic folklore which catalogued and caricatured Black and Indigenous cultures. “Bacayu,” for example, is not a Taino “zemi” but rather a word she culled from a glossary of Black and Indigenous terms: a performance of knowledge over Indigenous cultures rather than a Taino cultural product. It hails from a lecherous story written by a Havana dentist about the death of an “Indian doncella.” Each chapter considers her translations of such pieces, focusing in particular on her translation choices which I suggest are motivated by her feminist and anti-imperial politics. My first chapter considers the influence of ethnographic studies on Abakuá and particularly the writings of Fernando Ortiz in her Iowa campus performances which reference crime scenes and “sacrificial” initiation ceremonies. Rather than offering unmediated access to Black religious practices, I suggest she is performing an abased view of Abakuá as seen through the (exterminationist) lens of Ortiz’s scholarship from his criminological ethnography, Los negros brujos (1906), to his less punitive but still highly fetishizing account of Abakuá in “La ‘tragedia’ de los ñáñigos” (1950). I don’t believe Mendieta translates this work to oppress Black people. Rather as a bodywork artist composing a militant, corporal language of feminist critique, she aims the violence of cultural translation toward her chauvinistic art school cohort. The second chapter considers her literary translation of “La Venus Negra, based on a Cuban legend,” which was composed by Adrián del Valle, Ortiz’s secretary at La Sociedad Económica de los Amigos del País for which he collated Cuba’s first public library among other projects. The original legend can be contextualized by del Valle’s broader stewardship of Cuban letters: he penned “La Venus Negra” for a collection celebrating the Centenary of Cienfuegos from the family notes of a prominent cienfueguero, Pedro Modesto. Examining the tacky national showcase in which the legend originally appears, I consider the ways Mendieta repositions la Venus Negra as a display of her own “will to continue being Other.” In particular, her translation imposes a “Siboney” ancestry on la Venus Negra and dispenses with the conditions which determine the protagonist’s muteness (in the original, la Venus Negra is a nude Black woman who is captured and displaced from her island hideout by criollo enslavers). In Mendieta’s translation la Venus is not muted Black protest incarnate but becomes an anti-colonial symbol. Mendieta publishes the piece in the feminist magazine Heresies, illustrating the legend with a silhouette of her own body from her Silueta Series. Again, I don’t think Mendieta poses as a Ciboney woman or absents Black women in a gesture of ill will toward Black and Indigenous people. Rather, she does so as an anti-imperial strategy consistent with Fidel Castro’s cadre, as her unavowed translation of Roberto Fernández Retamar’s “Calibán” into her “Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States” curatorial statement indicates. In the essay, Retamar, a white Cuban scholar, aligns the revolution with Black and Indigenous Cuba by “reclaiming” the caricature Caliban, which, as Coco Fusco writes, Shakespeare himself had based on an “Indian” exhibited in London. In the third chapter, I consider Mendieta’s Esculturas Rupestres, not as tributes to Taino spirits but as monuments of settler longing for mutilated Indigenous women. The legend I mentioned in the introductory paragraph, “Bacayu,” for example, is settler fanfiction about a daughter of a “cacique” whose death portends the coming of the white man and includes a lengthy description of the dead woman’s body. I also point toward the misnamings of Black women which appear within this rock series (Black Venus, Mother) which are often overlooked by scholars who ask us to read the work as Taino myth. Finally, building on these themes, I suggest a comparison to the work of Brazilian artist Hélio Oiticica: emphasizing the similarities in their “cannibalistic” approaches to translation. Although differently aligned politically (leftist, anarchist), Oiticica’s family, like Mendieta’s, were culturally and politically prominent settlers; and, like Mendieta, Oiticica is often read as a translator of Black Atlantic culture. Further both artists engaged in the caricaturing of Indigenous “American” cultures. In New York, Oiticica translated Oswald de Andrade’s “Manifesto Antropófago” (1928) to contextualize his work and the work of his friends. Artists in Brazil had adapted de Andrade’s manifesto into a translation program “cannibalizing” European and North American cultures, a practice they misidentified as Tupi as de Andrade had. Comparing Mendieta and Oiticica as translators reveals shared patterns of Latin American vanguards employing caricatures of Black and Indigenous cultures in anti-imperial performances. These caricatures and their resemblance to caricatures in the U.S. also point to older (and enduring) transnational networks of white nationalism in the Americas.

This work is about the relevance of the matter, namely earth, clay or landscape, in contemporary art. How can this matter trigger a feeling of connection with the origins (of life and art)? How can the art works, in which the presence of earth is significant, evoke timeless polarities such as: sky/earth; spirit/matter; invisible/visible; permanent/ephemeral; particular/universal? What is the motivation of the artists that look for a sensory and essential contact with this matter and with the landscape? These are central questions that guide the process of search and reflection. The earth, as a physical and symbolic element, also connected with the feminine, is refered to as a matter that can evoke a feeling of gathering, of unity with life, with nature and with the cosmos

The present work intends to study Sculpture built with raw earth. Hence, this investigation aimed to study several sculptural works and construction techniques using raw earth, and to demonstrate how plastic, formal and composite the constructions with raw and compacted earth can be in Sculpture. This theme has not been widely investigated in the scope of Sculpture, which creates interest to explore it further. The investigation developed here showed that, it is possible to build with earth not only in Architecture, but also in Sculpture. A Sculpture made with raw earth can be both ephemeral, degrading over time, living only during the exhibition, or perennial. In the latter, the sculpture is characterized by being built with stronger and longer-lasting earth that resists to the environment and that can also be stabilized, increasing its protection and minimizing damage over the years. Furthermore, it is also possible to use vegetable structures in the construction of shapes that help to resist longer, not only in high temperature zones, but also in drought zones. Throughout the work, there are several empirical experiences, sculptural works that demonstrate a variety of techniques and construction potentials with raw earth in Sculpture. It is also addressed: the applicability of earth as a raw material and its different compositions and properties; what are the best types of earth, depending on the local and depth from which it is extracted; and which construction techniques are best suited to each type of earth. Earth, besides being safe and easy to mold, is also ecological and infinitely recyclable, having a great plasticity and chromatic diversity. The huge expressive potential and all the different types of earth make it unique when compared to other raw materials. Since construction with earth is still viewed with suspicion by people, the main objective of this work was to show the advantages and disadvantages of using raw earth in Sculpture and all its potential.

este escrito relata el proceso de un año de investigación y producción artística para el trabajo final de grado de la licenciatura en artes visuales con orientación en grabado de la facultad de artes de la universidad nacional de córdoba. fragmentos e intersticios de la materia es el resultado de un camino de indagación metódico, tomando como peana, por un lado, el cuerpo humano en tanto materia y, por el otro, su proyección, analogías y diferencias con otras materias. la obra investiga la materia a través de cómo se manifiesta a los sentidos y busca comprender aquello que permanece en la penumbra, o en la oscuridad plena. consecuentemente surge la pregunta: ¿sólo aquellas marcas distintivas en la materia y perceptibles con los sentidos son lo que diferencia a cada uno de los cuerpos en el mundo?<br>fil: haynal, nina. universidad nacional de córdoba. facultad de artes. departamento académico de artes visuales; argentina.

The broad focus of this study is on how, through inequalities in power in constructed human socio-political, socio-economic and legal structures, the value and dignity of human life is destroyed. The researcher as artist wished to represent these observations though visual metaphor, metonymy and synecdoche in an installation, "Follow the thread". The dissertation contextualises that work within the works of Sheila Hicks, Amita Makan, Magdalena Abakanowicz and Ana Mendieta, all of whom use organic materials related to ideas about life and death. The first three use fibres as a metaphor for life. Through the analysis of metaphors in the selected artworks, the allusiveness of these metaphors is examined to offer insights about their indirect, referential, and evocative nature. It is revealed in the study that the success of metaphors operating within the visual language is closely linked to their complexity, their range scope and multimodality, and their ability to provoke multivalent, layered interpretations of artworks. My sculptural drawings that resemble fragments of the human body in the installation are a metaphor for the abuse of human dignity and for the disregard those in power have when life is reduced to bare life, rather than life appropriate to a legal citizen.<br>Arts and Music<br>M.V.A.

The main concern of the present reflection is to explore and understand the limits of human existence and of the body itself, as well as its respective transgressions. Thus, in the first place, we intend to carry out an analysis of the limits that founded the human existence and of its moments of dissolution, in order to perceive what motivated the birth of art. Then, we will examine the issues related to the construction of human identity throughout the evolutionary process of the life cycle. The topic of this dissertation was inspired by the fact that we perceive the body as an opening, a space of unlimited expression in the creation of identity. In order to apply this way of understanding the body to different forms of artistic expression, we have selected some artists who have endeavored to convey to the observers an experience of bodily transgression. For this, we decided to decompose the body into parts, conducting an analysis that goes through the different body instances. This decomposition of the body is directly related to our artistic project, in which we investigate the most varied forms of representing it, but not in order to enclose it in a recognizable structure, rather with the aim of releasing it and this through the most varied plastic interpretations

Soy Serrano es un proyecto en el que utilizo las herramientas del arte parte para abordar lo político desde lo personal -identidad- y desde lo colectivo -protesta ambiental-. Una parte que surge de un proceso individual de carácter autorreferencial, hace eje en la recolección de objetos de mi contexto serrano vinculándolos a mi persona, aproximándose a las operaciones canónicas del campo de las artes visuales contemporáneas. Por otro lado, un componente surge de la participación colectiva en la defensa de las Sierras de Córdoba ante el proyecto de una autovía de cuatro carriles. Estos dos procesos, aunque de diferente origen conceptual y por ende de resultados, se potencian entre sí para armar un discurso más potente en torno a un mismo tema: la relación que tenemos/hacemos con el medio ambiente. La reflexión, el pensamiento y el hacer me llevaron a generar una visión global de las relaciones entre la raza humana y el contexto en el cual habita.<br>Fil: Moyano Cortéz, Nehuén. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Artes Visuales; Argentina.

Tesis (Lic. en Ciencias. de la Computación)--Universidad Nacional de Córdoba, Facultad de Matemática, Astronomía, Física y Computación, 2018.<br>Esta tesis de licenciatura aborda el problema de implementar el modelo numérico de predicción del tiempo Weather Research and Forecasting (WRF) en uno de los clústeres dedicados a computo intensivo de la UNC, Mendieta, con el propósito de poder escalar el rendimiento para dicho modelo, usando tecnologías de computación de alto desempeño (HPC) tales como Open Multi-Processing (OpenMP) y Message Processing Interface (MPI). El trabajo tiene como doble propósito generar valor en el campo de la ciencia aplicada, ya que el modelo WRF implementado en Mendieta será utilizado luego por el equipo de Consultoría de Aplicaciones Espaciales de Alerta y Respuesta Temprana a Emergencias (CAEARTE) perteneciente a la Comisión Nacional de Actividades Espaciales (CONAE), el cual se dedica al estudio de las emergencias ambientales, y por otro lado también tiene como propósito comprender como es el funcionamiento de un clúster dedicado a cómputo intensivo. Ambos enfoques se complementan, ya que el modelo numérico WRF puede ser aprovechable al máximo por el equipo de CAEARTE al ejecutar grandes volúmenes de cómputo en paralelo, y de esa manera poder implementar un sistema de alerta temprana que proporcione pronósticos en tiempos más inmediatos. Por otro lado, el afrontar problemas como la implementación de WRF en Mendieta posibilita iniciar el entendimiento de la arquitectura y del uso de un clúster dedicado a cómputo como Mendieta, lo cual constituye una herramienta útil para futuros trabajos.<br>This thesis addresses the problem of implementing the numerical weather prediction model Weather Research and Forecasting (WRF) in one of the dedicated to intensive computing clusters in the UNC, Mendieta, with the purpose of scaling up the performance for said model, using high performance computing (HPC) technologies such as Open Multi-Processing (OpenMP) and Message Processing Interface (MPI). The work has as a double purpose to generate value in the field of applied science, since the WRF model implemented in Mendieta will be used later by the Consulting Spatial Applications of Early Warning and Response to Emergencies (CAEARTE) team belonging to the National Commission of Space Activities (CONAE) which is dedicated to the study of environmental emergencies, and on the other hand it also has a purpose understand how is performed the operation of a cluster dedicated to intensive computation. Both approaches complement each other, since the numerical model WRF can be used to the maximum by the CAEARTE team when executing large volumes of computation in parallel, and in this way to be able to implement an early warning system that provides forecasts in more immediate times. On the other hand, facing problems such as the implementation of WRF in Mendieta makes it possible to begin the understanding of the architecture and the use of a cluster dedicated to computing such as Mendieta, which is a useful tool for future works.