Publication: La atmósfera psíquica en la creación artística. 1939-2017. Tipologías y métodos. Influjo de las enfermedades, trastornos y conflictos mentales
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2020-01-27
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Universidad Complutense de Madrid
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Abstract
En esta tesis, titulada La atmósfera psíquica en la creación artística. 1939-2017. Tipologías y métodos. Influjo de las enfermedades, trastornos y conflictos mentales investigamos en la atmósfera de la obra de arte contemporánea, ese contenido que a priori podemos denominar mágico-ritual, enigmático, que cruza y envuelve la obra. En la atmósfera hemos encontrado datos psíquicos proyectados por el artista y, en algunos casos, por el propio espectador/participante al sumergirse en ella. Este primero, el artista, compone la atmósfera jugando con numerosos recursos; entre ellos, aquellos que hemos denominado símbolos propios, que vienen a ser elementos personales que resultan característicos de su obra, con los que alude a sucesos, ideas, recuerdos, pensamientos... Además de estos, se sirve también, para componer sus creaciones, de los símbolos tradicionales conocidos por la sociedad en la que trabaja, así como las atribuciones que hacemos de manera colectiva de materiales u objetos, por ejemplo, objetos antiguos y usados ─en contacto con otras vidas y otras épocas─ o lugares que llevan un significado adherido a ellos, como hospitales psiquiátricos o una simple casa familiar. Así pues, el artista juega con gran variedad de elementos, manipulándolos y generando una impresión general, la atmósfera. Nuestro objetivo principal ha sido investigar en aquellas obras dotadas de una gran carga atmosférica. Así, a lo largo de nuestra investigación y tras analizar numerosas obras, hemos podido vincular dicha carga a fuertes conflictos psíquicos expresados por el artista, y en algunos casos, por el participante. Y es este, en efecto, el tema central de nuestra investigación, la relación entre la atmósfera y el dolor psíquico proyectado en ella. Así mismo, también tratamos otro tipo de conflictos menores de carácter existencial...
In this thesis, entitled The psychic atmosphere in artistic creation. 1939-2017. Typologies and methods. Influence of diseases, disorders and mental conflicts, an investigation in the atmosphere of the contemporary artwork it is carried out, a content that a priori we can call magic-ritual, enigmatic, that crosses and envelops the artwork. In the atmosphere we have found psychic data projected by the artist and, in some cases, by the spectator/participant himself when immersed in it. This first, the artist, composes the atmosphere playing with numerous resources; Among them, those we have called own symbols, which come to be personal elements that are characteristic of his artworks, with which he alludes to events, ideas, memories, thoughts ... apart from them, he also uses symbols that are already known by the society in which he works, as well as the attributions we make as a collective way to materials or objects, for example, old and used objects ─in contact with other lives and other times─ or places that carry a meaning attached to them, such as psychiatric hospitals or a simple family home. Thus, the artist plays with a great variety of elements, manipulating them and generating a general impression, the atmosphere. Our main objective has been to investigate in those artworks endowed with a great atmospheric load. Thus, all through our investigation and after analyzing numerous artworks, we have been able to link this load to strong psychic conflicts expressed by the artist, and, in some cases, by the participant. And this is, of course, the main theme of our investigation, the relationship between the atmosphere and the psychic pain projected in it. The same way we also talk about other minor conflicts related to an existential character...
In this thesis, entitled The psychic atmosphere in artistic creation. 1939-2017. Typologies and methods. Influence of diseases, disorders and mental conflicts, an investigation in the atmosphere of the contemporary artwork it is carried out, a content that a priori we can call magic-ritual, enigmatic, that crosses and envelops the artwork. In the atmosphere we have found psychic data projected by the artist and, in some cases, by the spectator/participant himself when immersed in it. This first, the artist, composes the atmosphere playing with numerous resources; Among them, those we have called own symbols, which come to be personal elements that are characteristic of his artworks, with which he alludes to events, ideas, memories, thoughts ... apart from them, he also uses symbols that are already known by the society in which he works, as well as the attributions we make as a collective way to materials or objects, for example, old and used objects ─in contact with other lives and other times─ or places that carry a meaning attached to them, such as psychiatric hospitals or a simple family home. Thus, the artist plays with a great variety of elements, manipulating them and generating a general impression, the atmosphere. Our main objective has been to investigate in those artworks endowed with a great atmospheric load. Thus, all through our investigation and after analyzing numerous artworks, we have been able to link this load to strong psychic conflicts expressed by the artist, and, in some cases, by the participant. And this is, of course, the main theme of our investigation, the relationship between the atmosphere and the psychic pain projected in it. The same way we also talk about other minor conflicts related to an existential character...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 30/09/2019