Publication: La figura del fabricator en los procesos técnicos de arte contemporáneo
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2018-10-22
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Universidad Complutense de Madrid
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Abstract
Es un hecho que algunos artistas contemporáneos ejecutan sus obras derivando su producción a otros. Detectamos la necesidad de analizar el rol del colaborador técnico del artista en el proceso de producción de obras de arte, y proponemos el término que se utiliza en el contexto anglosajón, fabricator, para nombrar a profesionales y empresas que tienen una participación relevante en la materialización de obras de arte.Esta tesis afronta un reto inédito: clarificar los nuevos modos de producción subsidiaria vinculados al arte contemporáneo. Para ello, primeramente, contextualizamos la demanda de esta figura en el sistema de producción global de la industria de la cultura y en el proceso de digitalización que le acompaña, confirmando teóricamente su engarce en las tramas de producción de los mundos del arte. A continuación, distinguimos sus funciones de otros colaboradores del artista, artesanos, asistentes y su evolución hacia el mediador digital. Posteriormente, localizamos su origen en los cambios producidos en el arte, en torno a los años sesenta, en los oficios artísticos y su expansión hacia la industria. Encontramos su justificación teórica a través de los planteamientos de Rosalind Krauss y ejemplificamos sus modos de producción diferidos en figuras de técnicos vinculados al minimalismo, el arte público o la fotografía.Sobre estas bases, proponemos una hipótesis de trabajo: la influencia del fabricator sobre la producción del arte contemporáneo es creciente; con esta pauta, realizamos una profunda investigación cualitativa sobre la actualización de su perfil, elaboramos una serie de entrevistas, contando con productores, artistas, galeristas y otros agentes del arte de primer nivel internacional, para caracterizar su actividad y estatus...
It is a fact that some contemporary artists execute their works deriving their production to others. We detected the need to analyze the role of the technical collaborator of the artist in the process of production of works of art, proposing the term used in the Anglo-Saxon context of "fabricator" to name professionals and companies that have a relevant participation in the materialization of works of art.This thesis faces an unprecedented challenge, to clarify the new modes of subsidiary production linked to contemporary art. To do this, we first contextualize the demand of this figure in the system of global production of the culture industry and in the process of digitization that accompanies it, theoretically confirming its linkage in the production frames of the worlds of art. Next, we distinguish its functions from other collaborators of the artist, artisans, assistants and their evolution to the digital mediator. Subsequently we locate its origin in the changes produced in the art around the 60s in the artistic trades and its expansion towards the industry. We find its theoretical justification through Rosalind Krauss's proposals and exemplify her deferred modes of production in technical figures linked to minimalism, public art or photography.On these bases, we propose a hypothesis of work: the influence of the fabricator on the production of contemporary art is increasing. With this in mind we carry out a deep qualitative research on the updating of his or her profile, we elaborate a series of interviews with on producers, artists, galleries and other artistic agents of international renown, to characterize their activity and status...
It is a fact that some contemporary artists execute their works deriving their production to others. We detected the need to analyze the role of the technical collaborator of the artist in the process of production of works of art, proposing the term used in the Anglo-Saxon context of "fabricator" to name professionals and companies that have a relevant participation in the materialization of works of art.This thesis faces an unprecedented challenge, to clarify the new modes of subsidiary production linked to contemporary art. To do this, we first contextualize the demand of this figure in the system of global production of the culture industry and in the process of digitization that accompanies it, theoretically confirming its linkage in the production frames of the worlds of art. Next, we distinguish its functions from other collaborators of the artist, artisans, assistants and their evolution to the digital mediator. Subsequently we locate its origin in the changes produced in the art around the 60s in the artistic trades and its expansion towards the industry. We find its theoretical justification through Rosalind Krauss's proposals and exemplify her deferred modes of production in technical figures linked to minimalism, public art or photography.On these bases, we propose a hypothesis of work: the influence of the fabricator on the production of contemporary art is increasing. With this in mind we carry out a deep qualitative research on the updating of his or her profile, we elaborate a series of interviews with on producers, artists, galleries and other artistic agents of international renown, to characterize their activity and status...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 12-09-2017