Publication: Panóptico Val del Omar: de la pantalla al palimpsesto
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Publication Date
2012
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Abstract
La condición multiforme, interdisciplinar y heterodoxa de la obra cinematográfica de José Val del Omar (1904-1982) ha suscitado en los últimos años un gran interés en el ámbito de las artes plásticas. Pese a este afán reivindicativo, los aspectos más singulares de su obra siguen pendientes de una lectura crítica. Fruto de todo ello, ha sido la reciente exposición antológica celebrada en varios museos nacionales. Sin cuestionar su indudable interés, la propuesta expositiva no ha hecho sino prolongar la visión hagiográfica asentada en detrimento de la elucidación de su universo creativo.
The multiform, interdisciplinary, and heterodox nature of Jose Val del Omar’s films have, in recent years, become the center of great interest in the world of the plastic arts. There have been many events recognizing the importance of Val del Omar’s work, although we have yet to see an in-depth critique of the most unique aspects therein. This is what happened in the recent anthology of his work exhibited in several national museums. While providing a valuable service, the way it was set up only served to prolong the canonical vision, missing an opportunity to reveal the true creativity in his work.
The multiform, interdisciplinary, and heterodox nature of Jose Val del Omar’s films have, in recent years, become the center of great interest in the world of the plastic arts. There have been many events recognizing the importance of Val del Omar’s work, although we have yet to see an in-depth critique of the most unique aspects therein. This is what happened in the recent anthology of his work exhibited in several national museums. While providing a valuable service, the way it was set up only served to prolong the canonical vision, missing an opportunity to reveal the true creativity in his work.