Publication: El animal como mediador en los discursos escultóricos actuales
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2016-09-13
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Universidad Complutense de Madrid
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Abstract
La tesis El animal como mediador en los discursos escultóricos actuales, aúna la investigación sobre los procesos de creación en torno a la animalística durante los siglos XX y XXI (documental, gráfica, histórica y conceptual) con el desarrollo de la creación artística personal como sustrato. Se trata de una investigación marcadamente transversal, que recurre a disciplinas tales como: lenguajes artísticos (en especial la escultura), biología, antropología, filosofía, crítica artística, historia del arte, zoología y ética. Todas estas ramas resultan necesarias para abordar un tema de tanta complejidad como lo es la diversidad de discursos que el arte actual establece en relación al tema. La tesis busca como objetivo establecer un marco desde el que discutir, analizar y proponer el quehacer artístico personal, dialogado y contextualizado, con el arte animalista del momento. Tras un profundo estudio del panorama, que se encuentra muy escasamente desarrollado en España, se establecen siete territorios discursivos (incluido el propio personal) cuyo denominador común es recurrir al animal; en unos casos como instrumento para transmitir el discurso de los artistas y, en otros, como eje central de las obras. En ellos se otorga especial interés a aspectos como: la metodología chamánica, empleada por los actuales artistas con un afán sanador y una preocupación por la relación arte/vida; las consideraciones relativas al símbolo y la transcendencia; la mediación del animal para los discursos políticos sociales; el valor terapéutico, incluyendo en ellos los procesos catárticos; y la metáfora que suponen para los alegatos ecológicos. Todo esto sin olvidar la enorme sugerencia formal que los animales aportan como objetos estéticos, y como sugerencias para la creación de mundos fantásticos. Las inquietantes e interesantes propuestas que se han analizado determinan, en último extremo, el posicionamiento de la autora de la tesis dentro de un discurso a favor del animal, su dignidad, su valor sanador y su poder como aliado. Tras el estudio de 94 artistas reconocidos en este campo, se alcanza a ofrecer un horizonte clarificado de los mecanismos que operan en la animalística, dividiendo su estudio en los siguientes 7 apartados: En un primer capítulo, dedicado al símbolo de la trascendencia, se analiza la reutilización del símbolo, lo que conduce a determinar el comportamiento simbólico y el sentimiento poético; se recorren los diferentes procedimientos de anamnesis y viajes de iniciación propios de las tradiciones religiosas; y se observa el papel que juega el animal como espíritu auxiliar, recorriendo dentro de la escultura un camino hacia la abstracción y por tanto hacia la captación de la esencia. En estos desarrollos la materia es utilizada como vehículo de lo sagrado, de tal modo que la creación artística aspira a la inmortalidad y a la trascendencia del ser...
The thesis The Animal as Mediator in the Present Sculptural Discourses, combines the research about the processes of creation in relation to animal art during the 20th and 21st centuries (documental, graphic, historic and conceptual) with the development of the personal artistic creation as substratum. It is a marked transversal research, which resorts to disciplines such as: artistic languages (especially sculpture), biology, anthropology, philosophy, artistic criticism, art history, zoology and ethics. All these branches turn out necessary to address an issue of much complexity as the diversity of discourses that contemporary art sets around the theme is. The thesis searches as aim to establish a framework from which to discuss, analyze and propose the personal, dialogued and contextualized artistic work, with the current animal art. After a thorough study of the situation, which has been very poorly developed in Spain, seven discursive territories (including my own personal one) which common denominator is to resort to the animal; in some cases as a means to transmit the discourse of the artist and, in others, as the core of the creations. In them, special attention is given to aspects such as: the shamanic methodology, used by the contemporary artists with a healing effort and a concern about the art/life relationship; the considerations of the symbol and the transcendence; the mediation of the animal for the sociopolitical speeches; the therapeutic value, including in them the cathartic processes; and the metaphor that they pose to the ecological arguments. All this without forgetting the huge formal suggestion that animals provide as aesthetic objects, and as suggestions for the creation of fantastic worlds. The intriguing and interesting proposals that have been analyzed ultimately determine the stance of the author of the thesis within a discourse in favor of the animal, its dignity, its healing value and its power as an ally. After the study of 94 recognized artists in this field, it is possible to offer a clarified horizon of the mechanisms that operate in the animal art, dividing its study into the following 7 sections: In a first chapter, dedicated to the symbol of the transcendence, the reuse of the symbol is analyzed, which then leads to determine the symbolic behavior and the poetic feeling; different procedures of anamnesis and initiating travels common among religious traditions are covered; and the role the animal plays as an auxiliary spirit is observed, crossing into the sculpture a path to the abstraction and therefore towards the grasp of the essence. In these developments the matter is used as a vehicle for the sacred, in such way that the artistic creation aspires to the immortality and to the transcendence of the being...
The thesis The Animal as Mediator in the Present Sculptural Discourses, combines the research about the processes of creation in relation to animal art during the 20th and 21st centuries (documental, graphic, historic and conceptual) with the development of the personal artistic creation as substratum. It is a marked transversal research, which resorts to disciplines such as: artistic languages (especially sculpture), biology, anthropology, philosophy, artistic criticism, art history, zoology and ethics. All these branches turn out necessary to address an issue of much complexity as the diversity of discourses that contemporary art sets around the theme is. The thesis searches as aim to establish a framework from which to discuss, analyze and propose the personal, dialogued and contextualized artistic work, with the current animal art. After a thorough study of the situation, which has been very poorly developed in Spain, seven discursive territories (including my own personal one) which common denominator is to resort to the animal; in some cases as a means to transmit the discourse of the artist and, in others, as the core of the creations. In them, special attention is given to aspects such as: the shamanic methodology, used by the contemporary artists with a healing effort and a concern about the art/life relationship; the considerations of the symbol and the transcendence; the mediation of the animal for the sociopolitical speeches; the therapeutic value, including in them the cathartic processes; and the metaphor that they pose to the ecological arguments. All this without forgetting the huge formal suggestion that animals provide as aesthetic objects, and as suggestions for the creation of fantastic worlds. The intriguing and interesting proposals that have been analyzed ultimately determine the stance of the author of the thesis within a discourse in favor of the animal, its dignity, its healing value and its power as an ally. After the study of 94 recognized artists in this field, it is possible to offer a clarified horizon of the mechanisms that operate in the animal art, dividing its study into the following 7 sections: In a first chapter, dedicated to the symbol of the transcendence, the reuse of the symbol is analyzed, which then leads to determine the symbolic behavior and the poetic feeling; different procedures of anamnesis and initiating travels common among religious traditions are covered; and the role the animal plays as an auxiliary spirit is observed, crossing into the sculpture a path to the abstraction and therefore towards the grasp of the essence. In these developments the matter is used as a vehicle for the sacred, in such way that the artistic creation aspires to the immortality and to the transcendence of the being...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Escultura, leída el 26-01-2016