Publication: Presencia de la pintura matérica en la contemporaneidad plástica y estética española. Grupo El Paso, protoapertura al arte conceptual español
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2016-09-06
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Universidad Complutense de Madrid
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Abstract
Para determinar el papel del grupo El Paso en la configuración del arte Español, partimos de las interrelaciones entre la historia y el proceso creativo, escudriñando el delgado hilo conductor con el tipo de dictadura, transición y democracia vivenciados en España. La realización de esta investigación ha requerido la capacidad, por nuestra parte, de deslizarnos fuera del enmarañado y manido campo de nuestra historiografía, para sumergirnos en la transversalidad del conocimiento humanístico. Si no hubiésemos sido capaces de entrar y salir del cajón seleccionado, con relativa agilidad, el estudio del período a estudiar, donde se plantean sesgos espaciales, temáticos, temporales y metodológicos, conllevaría inevitables pérdidas. Esperamos que el replanteamiento propuesto sea de utilidad para fundamentar futuras investigaciones desde nuevas perspectivas, o mejor, pretendemos contribuir con nuevas perspectivas para futuras investigaciones. Nuestro trabajo se ha convertido en una propuesta viva, donde cada paso que dábamos se veía sorprendido, o continuado, por los pasos de otros, y donde tuvimos que avanzar desde la documentación impresa más reconocida hasta la recopilada en los rincones más sórdidos de la aldea global. Finalmente, la confrontación se ha definido como nuestra metodología. Solo la permanente huida del dogma nos ha empujado al verdadero entendimiento de las cuestiones más profundas; el pluralismo cognitivo necesario durante nuestro recorrido, ha conllevado un necesario pluralismo metodológico entre lo cualitativo y lo cuantitativo, entre el raciocinio y la intuición. Hemos destacado el papel que las publicaciones han tenido en el objeto de nuestro estudio, en cuanto a su contribución para mantener en la invisibilidad absoluta la parte o el todo de aquello que no servía a la praxis política del franquismo, hasta el punto de que aún hoy, puede parecer que no hubo más. La mayor dificultad ha sido la falta de documentación sobre lo que realmente pasaba fuera de la historia reconocida por la institución. Incapaces de mantener nuestro trabajo vinculado a esa historiografía de arte elaborada desde las confrontaciones con el internacional y llena de amnesias, de las que hemos hablado reiteradamente, consideramos nuestra propuesta como la antesala de lo que debería ser una investigación más profunda, desde la confrontación entre los desarrollos artísticos y otras dinámicas que sobrepasan el mundo del arte y la política con mayúsculas, en la vida madrileña, catalana y española en general...
In order to determine the role of the group “El Paso” in the configuration of the Spanish Art, we should start with the interrelationships between history and the creative process, examining the thin thread connecting it with the dictatorship, the Transition and the democracy having place in Spain at the time. For this research to become successful it has been crucial being able to come out from the tangled and trite self- historiography and to plunge into the transversality of the humanistic knowledge. Hadn’t we been nimbly agile enough to come in and out of the chosen box in history, spatial, thematic, temporary and methodological bias concerning such lapse in Spanish history would have led to inevitable losses. Our work became a live proposal, where every step taken was surprised or continued by those of others, and where research had to be undertaken from the most reputable written bibliography to that piled up in the most unknown corners of the global village. Subsequently, confrontation was established as our working method. The thoughtful understanding of the deepest questions could only be accomplished on a constant rejection of the dogma. Thus, the cognitive pluralism required in our journey implied a methodological pluralism between qualitative and quantitative aspects and between reason and intuition. The role of publications in our study has been enhaced, as to its contribution to maintain invisible everything or parts of anything that did not have a direct retribution to the political praxis during the Spanish dictatorship -“el franquismo”- to the point that, even nowadays, it could seem that nothing else existed. Therefore, the major difficulty encountered has been the lack of documentation about what was really happening besides the institutionally recognized history. Unable to keep our work linked to such Art historiography, developed from an opposition to the International Style and replete with intended oversights about which we have reiteratedly talked, we regard our proposal as the precursor of what ought to be a deeper research, conducted from the opposition between artistic movements and other dynamics that go beyond the fields of Arts and Politics in the Madrilian, Catalan and Spanish lives...
In order to determine the role of the group “El Paso” in the configuration of the Spanish Art, we should start with the interrelationships between history and the creative process, examining the thin thread connecting it with the dictatorship, the Transition and the democracy having place in Spain at the time. For this research to become successful it has been crucial being able to come out from the tangled and trite self- historiography and to plunge into the transversality of the humanistic knowledge. Hadn’t we been nimbly agile enough to come in and out of the chosen box in history, spatial, thematic, temporary and methodological bias concerning such lapse in Spanish history would have led to inevitable losses. Our work became a live proposal, where every step taken was surprised or continued by those of others, and where research had to be undertaken from the most reputable written bibliography to that piled up in the most unknown corners of the global village. Subsequently, confrontation was established as our working method. The thoughtful understanding of the deepest questions could only be accomplished on a constant rejection of the dogma. Thus, the cognitive pluralism required in our journey implied a methodological pluralism between qualitative and quantitative aspects and between reason and intuition. The role of publications in our study has been enhaced, as to its contribution to maintain invisible everything or parts of anything that did not have a direct retribution to the political praxis during the Spanish dictatorship -“el franquismo”- to the point that, even nowadays, it could seem that nothing else existed. Therefore, the major difficulty encountered has been the lack of documentation about what was really happening besides the institutionally recognized history. Unable to keep our work linked to such Art historiography, developed from an opposition to the International Style and replete with intended oversights about which we have reiteratedly talked, we regard our proposal as the precursor of what ought to be a deeper research, conducted from the opposition between artistic movements and other dynamics that go beyond the fields of Arts and Politics in the Madrilian, Catalan and Spanish lives...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Pintura, leída el 20-11-2015