Publication: Hacia una reducción extrema del acontecimiento artístico: prácticas sin objeto y sin documentación en la contemporaneidad
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2018-10-17
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Universidad Complutense de Madrid
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Abstract
En un sistema artístico que otorga un papel central a lo visual, lo tangible y lo perdurable, lad ocumentación es un aliado eficaz a la hora de facilitar el tratamiento de propuestas cuya materialización es escasa y no se concreta en una forma definida. ¿Qué ocurre si esta falta intencionadamente? ¿De qué manera afecta a la obra de arte o a dicho sistema?La presente investigación propone un análisis de planteamientos artísticos que llevan al límite la evitación de producir resultados consistentes al prescindir también de su documentación en formatos visuales y duraderos. La conjunción de ambas ausencias es observada como un paso más allá en el acercamiento a la mínima expresión artística, el cual constituye la otra búsqueda fundamental de esta tesis.Frente a la abundancia de estudios acerca de la documentación y de los archivos,ambas prácticas preeminentes en casi todos los ámbitos de la vida actual, el asunto concreto de la elusión consciente de la documentación en el proceso artístico ha sido por lo general ignorado en los desarrollos teóricos del arte de los siglos XX y XXI pese a sus estrechas conexiones con las circunstancias históricas, los avances científicos y corrientes de pensamiento centrales para su comprensión. Estas han dado lugar a expresiones de gran calado, como el profusamente aludido proceso de desmaterialización acuñado por Lucy Lippard y John Chandler. Sin embargo, la aproximación teórica de estos autores, al igual que otras que la han tomado como referente, resulta insuficiente para tratar los asuntos que aquí se exponen, en primer lugar, por una cuestión terminológica –«desmaterialización» es un concepto inexacto que ha sido muy cuestionado por su ambigüedad e imprecisión a pesar dela falta de alternativas–; y, segundo, porque la documentación, característica de muchas de estas propuestas «desmaterializadas», terminó ocupando el lugar del objeto artístico con el paso del tiempo...
In an art system in which the visual, tangible and durable play a central role, the documentation of the artistic work is very helpful when it comes to facilitating the treatment of projects whose materialization is scarce and lacks a defined form. But what happens if documentation is intentionally absent? How would the work of art or the art system be affected?This research analyzes artistic approaches that take the avoidance of producing consistent results to the limit, including documentation in visual and long-lasting formats.The conjunction of these two absences is considered a step toward minimal artistic expression, which constitutes the other fundamental inquiry of this thesis. Contrary to numerous studies on art documentation and archives – both practices pervading almost all aspects of everyday life – the conscious avoidance of documentation in the artistic process has been generally ignored in the developments of art theory in the 20th and 21st centuries, despite its tight relationship to certain historical circumstances, scientific advances, and lines of thought that are central to its comprehension. These relationships have given rise to widely-used expressions such as the process of dematerialization, coined by Lucy Lippard and John Chandler. Nevertheless, these authors' theoretical approach, as well as many others who have taken it as a reference, turns out to be inadequate for the analysis of the issues addressed here. First, because, terminologically speaking,‘dematerialization’ is a vague concept that has been highly questioned due to its ambiguity and imprecision, despite the lack of alternatives. And second, because documentation –which is present in many of these 'dematerialized' works – ended up taking the place of the work of art over time...
In an art system in which the visual, tangible and durable play a central role, the documentation of the artistic work is very helpful when it comes to facilitating the treatment of projects whose materialization is scarce and lacks a defined form. But what happens if documentation is intentionally absent? How would the work of art or the art system be affected?This research analyzes artistic approaches that take the avoidance of producing consistent results to the limit, including documentation in visual and long-lasting formats.The conjunction of these two absences is considered a step toward minimal artistic expression, which constitutes the other fundamental inquiry of this thesis. Contrary to numerous studies on art documentation and archives – both practices pervading almost all aspects of everyday life – the conscious avoidance of documentation in the artistic process has been generally ignored in the developments of art theory in the 20th and 21st centuries, despite its tight relationship to certain historical circumstances, scientific advances, and lines of thought that are central to its comprehension. These relationships have given rise to widely-used expressions such as the process of dematerialization, coined by Lucy Lippard and John Chandler. Nevertheless, these authors' theoretical approach, as well as many others who have taken it as a reference, turns out to be inadequate for the analysis of the issues addressed here. First, because, terminologically speaking,‘dematerialization’ is a vague concept that has been highly questioned due to its ambiguity and imprecision, despite the lack of alternatives. And second, because documentation –which is present in many of these 'dematerialized' works – ended up taking the place of the work of art over time...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 7 de junio de 2017