Publication: Acumulaciones, apilamientos y montones: una aproximación al arte occidental de finales de los 50 y década de los 60 del s.XX
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2014-11-26
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Universidad Complutense de Madrid
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Abstract
Se ha trabajado sobre un tipo de obras presentes en el arte occidental de finales de los 50 y década de los 60 del s. XX. Dichas obras se caracterizan por mostrar acumulaciones de materiales y objetos, apilamientos de elementos serializados y montones de materia disgregada.
Las acumulaciones predominan fundamentalmente desde finales de los 50 a principios de los 60, siendo realizadas por los artistas neodadás y nouveaux réalistes. Los apilamientos se encuentran presentes en el arte mínimal y pop desde principios de los 60. Los montones son característicos de algunas obras antiforma, povera y land art, realizadas en la segunda mitad de los 60.
Acumulaciones: se realizan ambientes, llenando los espacios de cachivaches y objetos de la basura. Suponen un abandono de la obra, su traspaso y extensión a lo que nos rodea.
Apilamientos: convierten la multiplicidad de cosas en un mismo elemento modular que se repite en filas y columnas, siendo su distribución intercambiable. Este modelo relacional anula lo compositivo.
Montones: se destaca el momento en el que la obra se “conforma”, pues se realiza dejando caer el material. No se plantea una forma escultórica original, pues todos los montones tienen una forma cónica similar. Hay que señalar el recogimiento asociado a los montones.
Conclusiones:
- Estas obras no pueden ser entendidas en tanto que totalidad organizada y diferenciada.
- Se cuestionan aquellos aspectos tradicionalmente vinculados a la práctica artística.
- La atención se dirige hacia todo, no solo hacia una parte, por ejemplo la del arte.
- Se plantea un tipo de percepción errática, no pudiéndose diferenciar ningún aspecto de la obra de arte, ni a la obra de arte en sí misma.
- Las obras se pretenden en tanto que fondo.
- Las acumulaciones, apilamientos y montones son diferentes manifestaciones de esta totalidad-fondo.
My own research is about a certain type of work present in Western art in the late 50s and 60s of the twentieth century. These works are characterized because they present accumulations of materials and objects, piles of sequenced elements and heaps of materials or shattered material. The accumulations of all types of materials and objects prevailed mainly from the late 50s to the early 60s, and it is something which characterizes both the neodadás artists and nouveaux réalistes. The piles can be compared to a certain type of works ascribed mainly to minimal and pop art and carried out even since the early 60s. The heaps can be considered as characteristic of antiform, povera and land art, present in the late 60s. Accumulations: the artists create environments and fill spaces with things, useless objects. We enter into reality through objects. Piles: the multitude of things are turned into the same modular element that is somewhat repeated in rows and columns. Their distribution could be interchangeable. This relational model abolishes the composition. Heaps: they have simply been left on the floor. The artist acts, but it is as if he doesn't, as if he had hardly participated. The material that the artists lay has become more silent. Conclusions: - The artistic field is questioned, its aesthetic conventions, and the work of art in itself as artistically erected or differentiated as an object. - The different types of accumulations can be understood as an addressing to the whole. - Our attention remains erratic, not being able to distinguish any particular aspect of the "artwork", or the "artwork" in itself. - The accumulations can be mixed and identified as an undifferentiated background. - The accumulations, piles and heaps are possible manifestations of that totality in which they are interested.
My own research is about a certain type of work present in Western art in the late 50s and 60s of the twentieth century. These works are characterized because they present accumulations of materials and objects, piles of sequenced elements and heaps of materials or shattered material. The accumulations of all types of materials and objects prevailed mainly from the late 50s to the early 60s, and it is something which characterizes both the neodadás artists and nouveaux réalistes. The piles can be compared to a certain type of works ascribed mainly to minimal and pop art and carried out even since the early 60s. The heaps can be considered as characteristic of antiform, povera and land art, present in the late 60s. Accumulations: the artists create environments and fill spaces with things, useless objects. We enter into reality through objects. Piles: the multitude of things are turned into the same modular element that is somewhat repeated in rows and columns. Their distribution could be interchangeable. This relational model abolishes the composition. Heaps: they have simply been left on the floor. The artist acts, but it is as if he doesn't, as if he had hardly participated. The material that the artists lay has become more silent. Conclusions: - The artistic field is questioned, its aesthetic conventions, and the work of art in itself as artistically erected or differentiated as an object. - The different types of accumulations can be understood as an addressing to the whole. - Our attention remains erratic, not being able to distinguish any particular aspect of the "artwork", or the "artwork" in itself. - The accumulations can be mixed and identified as an undifferentiated background. - The accumulations, piles and heaps are possible manifestations of that totality in which they are interested.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Historia del Arte III, leída el 11-07-2014