Publication: Didáctica, estrategias y procesos del arte colectivo. Una aplicación didáctica en la enseñanza superior del arte
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2016-09-05
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Universidad Complutense de Madrid
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Abstract
Dentro de las vanguardias históricas, fundamentalmente las de carácter utópico y con un fuerte compromiso político como el dadaísmo alemán, el constructivismo ruso y el surrealismo francés, podemos localizar una voluntad didáctica de desarrollar una creatividad colectiva y también una recepción colectiva, así como múltiples maneras de hacer que se ponen en común, difuminando las fronteras entre el espectador y el autor, con la clara intención de incidir en la esfera pública. El arte colectivo en las vanguardias se localiza mayoritariamente en amplios movimientos artísticos que involucran un gran número de individualidades y también en sus pretensiones de conseguir unas formas y unas prácticas artísticas que acompañen los movimientos utópicos y revolucionarios y que por tanto puedan ser ejercidas de modo colectivo. Podemos seguir esta voluntad vanguardista en otras experiencias posteriores a la Segunda Guerra Mundial como COBRA, la Internacional Situacionista o Fluxus, para ver cómo se consolidan en los años 80 y 90 con la irrupción de colectivos artísticos, que ya no se organizan en grandes movimientos sino en grupos de afinidad autónomos, con una clara intención activista. Del mismo modo que las vanguardias históricas dirigieron su acción colectiva para integrarse en movimientos activos ligados a los grandes relatos emancipadores de la revolución social, los nuevos grupos de arte y activismo de los años 80 buscarán legitimar sus prácticas en su coalición con los nuevos movimientos de acción política de la posmodernidad, que ya no estarán conformados en torno a aquellos grandes relatos revolucionarios de la modernidad sino que se centraran en las reivindicaciones de las minorías. Y si bien en las vanguardias, lo más habitual, era que los artistas se sumaran a manifiestos y grandes corrientes estéticas, ahora se atomizan en numerosos grupos...
Within the avant-garde period we can find a didactic will to develop both collective creativity and collective reception, blurring the boundaries between audience and author. The collective art developed during the avant-garde period is located mainly in large artistic movements that involve a large number of individuals and in their claims to construct artistic practices for accompanying the utopian and revolutionary movements. This determination is to be found mainly on those trends of utopian character and strong political commitment, such as German Dadaism, Russian Constructivism and French Surrealism. Also a clear intention of influencing the public sphere can be identified in those movements. We can follow this avant-garde spirit in other subsequent experiences after the Second World War such as COBRA, the Situationist International or Fluxus, a spirit that would be further consolidated during the 80s and 90s with the emergence of artistic groups, which were no longer organized within large movements but through autonomous affinity groups which show a strong activist intent. In the same way that the historical avant-garde integrated their collective action into active movements linked to the great emancipatory narratives of social revolution, the new groups of art and activism from the 80s sought to legitimize their practices in their coalition with the new political movements of postmodernism, focusing on the claims of minorities. It should be noted at this point the wider research on the collective art produced in Madrid during the nineties that responds to the intention to give a historical and cultural framework and a familiar context for our educational experiment, with the aim that students will have a more detailed understanding of these collaborative practices in their social milieu...
Within the avant-garde period we can find a didactic will to develop both collective creativity and collective reception, blurring the boundaries between audience and author. The collective art developed during the avant-garde period is located mainly in large artistic movements that involve a large number of individuals and in their claims to construct artistic practices for accompanying the utopian and revolutionary movements. This determination is to be found mainly on those trends of utopian character and strong political commitment, such as German Dadaism, Russian Constructivism and French Surrealism. Also a clear intention of influencing the public sphere can be identified in those movements. We can follow this avant-garde spirit in other subsequent experiences after the Second World War such as COBRA, the Situationist International or Fluxus, a spirit that would be further consolidated during the 80s and 90s with the emergence of artistic groups, which were no longer organized within large movements but through autonomous affinity groups which show a strong activist intent. In the same way that the historical avant-garde integrated their collective action into active movements linked to the great emancipatory narratives of social revolution, the new groups of art and activism from the 80s sought to legitimize their practices in their coalition with the new political movements of postmodernism, focusing on the claims of minorities. It should be noted at this point the wider research on the collective art produced in Madrid during the nineties that responds to the intention to give a historical and cultural framework and a familiar context for our educational experiment, with the aim that students will have a more detailed understanding of these collaborative practices in their social milieu...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Didáctica de la Expresión Plástica, leída el 19-11-2015