Publication: Análisis semiológico de los murales de Madrid: aspectos lingüísticos, simbólicos, perceptivos e iconográficos
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2016-04-02
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Abstract
En la gran metrópolis de Madrid hay espacios que han sido tomados por diferentes artistas para expresar su sentir social a través del pincel y la pintura. Estos artistas plasman sus creaciones en murales religiosos, informativos, publicitarios, de expresión social, culturales y educativos, espontáneos o sin ninguna temática específica. Sea cual sea el interés que mueve al artista para exponer sus creaciones, están ahí y forman parte del patrimonio artístico de Madrid.
Esos murales representan el sentir individual de sus creadores, definen un estilo de vida y la expresión grupal de un segmento de los habitantes de la ciudad. Asimismo, promueven productos, bienes y servicios de toda índole para ofertarlos con estética y funcionalismo a un público determinado.
Muchos de estos murales no pasan desapercibidos, pues su gran contenido visual, con sus gamas cromáticas, invita a los transeúntes a observar la composición y estructura que lo conforman. Por ello es de gran importancia analizar con la mayor objetividad posible todo lo relativo a esta expresión del arte en Madrid, escudriñando el porqué de esta manifestación artística que seduce con su colorido e inspira a los espectadores a involucrarse en estas creaciones de la plástica contemporánea, ya que casi siempre su contenido visual va más allá de lo que la imaginación puede proyectar y de lo que la vista puede observar.
Estos murales hablan, cuentan historias e invitan a los espectadores a formar parte de los deseos ocultos de sus creadores y a rememorar situaciones olvidadas o ignoradas por la sociedad. Los murales de Madrid introducen en su contenido el lenguaje popular sencillo y cotidiano, pero al mismo tiempo contiene expresiones iconográficas insertadas a propósito en líneas ocultas. Es precisamente esa realidad el objeto de estudio de esta tesis final, con la cual se pretende interpretar el conjunto de símbolos y signos utilizados por los artistas en su proceso creativo, al tiempo de descubrir los mensajes que se transmiten o quieren transmitir a través la policromía o monocromía de sus obras de arte.
También se busca conocer la percepción de los transeúntes con respecto a los murales de calles, iglesias, museos y parques. Algunos podrían calificarlos como una expresión vandálica y rebelde de jóvenes disidentes al sistema, pero que en ocasiones el espectador lo percibe como la forma decorativa que complementa el vacio de los espacios. En el caso de los murales religiosos, estos son motivo para renovar la fe, para temer y amar a líderes y entidades espirituales. Lo que el espectador percibe de las intervenciones hechas a las paredes y los espacios públicos, es nuestra tarea descubrirlo y para ello cuestionaremos al transeúnte que los observa o que simplemente los ignora por desinterés.
El arte urbano está presente en todas las sociedades postmodernas como manifestación artística de la industria cultural o fruto de la espontaneidad e inmediatez representada por artistas de formación cultural común, con niveles sociales y culturales medios y bajos. Estos hacen uso de ese tipo de recurso pictórico para expresar sus divergencias con el sistema a través de murales improvisados y grafitis de todo tipo, o simplemente para exhibir su talento a través del colorido propio de estos tiempos. Muchos de esos murales lucen bastantes agradables, pues con la práctica los muralistas han alcanzado un perfeccionamiento aceptable, aunque en su mayoría hacen uso del embadurnamiento de matices y aplicaciones cromáticas exageradas en paredes y callejones de la urbe. Por otro lado, están los que hacen de esta expresión un oficio o modus vivendi, con un nivel formativo superior a los anteriores, pues su rol es embellecer, adornar e informar, procediendo a intervenir espacios para lograr entornos agradables a la vista de los transeúntes.
Muchos de los murales de Madrid poseen significados que van más allá de lo que se observa a simple vista, pues algunos de estos son expresión de la actitud egocéntrica de los artistas, quienes denuncian o informan con espontaneidad sobre un acontecimiento pasado, presente o futuro. No existe un patrón reglamentario que delimite o trace pautas a los expositores de esta manifestación artística. Sin embargo, no es lo mismo que un artista del pincel intervenga un espacio para expresar e informar sobre hechos relevantes desde su punto de vista, a que este mismo artista sea contratado para realizar un trabajo de propaganda publicitaria. No es igual que un desorientado social delimite su territorio, haciendo uso de la pintura en espray para delimitar fronteras vandálicas, ensuciando paredes, a que este mismo personaje introduzca elementos decorativos en su arte, logrando cierto nivel estético en la combinación cromática. Mas el muralista de profesión puede introducir a su trabajo la aplicación de simetría en composiciones equilibradas, logrando niveles estéticos calificados y bien aceptados por el espectador, aun siendo un trabajo de contenido social o un encargo para promover productos, bienes y servicios.
Cualquiera que sea el objetivo de estos artistas, muchos de los murales callejeros no pasan desapercibidos por los ciudadanos, ya sea por las molestias que causa el ruido visual de los colores o por la estética con que plasman las imágenes que componen esta expresión. El propósito central de esta investigación es descubrir todos los elementos implicados en la realización de un mural, su discurso visual, el conjunto iconográfico traducido en las imágenes que lo componen y al mismo tiempo cómo son percibidos por los espectadores.
In the big city of Madrid there are places that have been taken by different artists to express their social feeling through brush and paint. These artists capture their creations in religious, informative, advertising, social, cultural and educational murals, spontaneous or without any specific topic. Whatever the interest that moves the artist to exhibit their works is, there they are and they are part of the artistic heritage of Madrid. These murals represent the individual sense of their creators, define the lifestyle and group expression of a segment of the inhabitants of the city. They also promote products, goods and services of all kinds to offer them to a targeted audience with esthetics and functionalism. Many of these murals do not go unnoticed, because their great visual content and their color ranges invite the passerby to observe the composition and structure that defines it. It is therefore of great importance to analyze as objectively as possible everything related to this expression of art in Madrid, examining why this artistic manifestation seduces with its color and inspires viewers to get involved in these creations of contemporary art, since almost always its visual content goes beyond what the imagination can project and what the eye can see. These murals speak, tell stories and invite viewers to join the hidden desires of their creators and to recall situations forgotten or ignored by society. Madrid City murals introduce in their content the simple and popular everyday language, but also contain iconographic expressions purposely inserted in hidden lines. It is precisely this fact the object of study of this final thesis, with which it is intended to interpret the set of symbols and signs used by artists in their creative process, while discovering the messages transmitted or intended to be transmitted through the polychrome or monochrome tones of their artwork. It also seeks to get to know the perception of the passersby about murals in streets, churches, museums and parks. Some people might qualify them as a vandalism and rebellious expression of young dissidents to the system, but sometimes the viewer perceives it as the decorative shape that complements the vacuum of space. In the case of religious murals, these lead to renew faith, to fear and love spiritual leaders and institutions. It is our task to discover what the viewer sees in the statements made on walls and public spaces and in order to do so the passerby who observes or simple ignores it with disinterest will be questioned. Urban art is present in all postmodern societies as the artistic expression of the cultural industry or the result of spontaneity and immediacy represented by artists with cultural common training and low or middle social and cultural levels. These make use of such pictorial resource to express their divergences with the system through makeshift murals and graffiti of all kinds, or simply to display their talent through the color typical of the time. Many of these murals look quite nice, because with practice, the muralists have reached an acceptable perfection, although most of them use the daubing of nuances and exaggerated chromatic applications on walls and alleys of the city. On the other hand, there are those with a higher educational level than the previous ones, who make this expression a trade or modus vivendi, because their role is to beautify, decorate and inform, intervening spaces to achieve pleasant environments at the view of the passerby. Many of the murals of Madrid have meanings that go beyond what is observed with the naked eye, because some of them are an expression of the egocentric attitude of the artists who denounce or report spontaneously about a past, present or future event. There is no regulatory standard that delimits or establishes rules to the exhibitors of this art. However, the intervention of a space by a brush artist to express and report on relevant facts from their point of view is not the same as being hired to do a job on advertising. The demarcation of territory by a social disoriented person, making use of spray paint to delimit vandalism borders and littering walls is not the same as introducing decorative elements in the artwork, achieving certain esthetic level in the color combination. But the professional muralist can introduce in their work the use of symmetry in balanced compositions, achieving qualified and esthetic levels well accepted by the audience, even if it is a work of social content or an order to promote products, goods and services. Whatever the purpose of these artists, many of the street murals do not go unnoticed by citizens, either for the inconvenience that causes the visual noise or for the esthetic that embody the images that form this expression. The main purpose of this research is to discover all the elements involved in the creation of a mural, its visual speech, the iconographic ensemble translated into images that compose it and, at the same time, to find out how they are perceived by viewers. This research is aimed to address the following objectives: To identify the widest possible set of murals in the city of Madrid to take them as references for the research work. To perform a semiotic analysis of the murals of Madrid City to get to know its semiotic structure. To interpret the visual language and linguistic levels in which the murals of Madrid City communicate their speech, through spaces, images and colors. To conduct a thorough study of the images that makes up the murals of Madrid City to discover their hidden meaning. To discover the modus vivendi, educational background and lifestyle of the muralists who exhibit their works in Madrid City in order to identify their purposes and intentions with the exhibition of their art. To analyze how the viewer perceives the murals exhibited in Madrid City to get to know their views about these artistic expressions.
In the big city of Madrid there are places that have been taken by different artists to express their social feeling through brush and paint. These artists capture their creations in religious, informative, advertising, social, cultural and educational murals, spontaneous or without any specific topic. Whatever the interest that moves the artist to exhibit their works is, there they are and they are part of the artistic heritage of Madrid. These murals represent the individual sense of their creators, define the lifestyle and group expression of a segment of the inhabitants of the city. They also promote products, goods and services of all kinds to offer them to a targeted audience with esthetics and functionalism. Many of these murals do not go unnoticed, because their great visual content and their color ranges invite the passerby to observe the composition and structure that defines it. It is therefore of great importance to analyze as objectively as possible everything related to this expression of art in Madrid, examining why this artistic manifestation seduces with its color and inspires viewers to get involved in these creations of contemporary art, since almost always its visual content goes beyond what the imagination can project and what the eye can see. These murals speak, tell stories and invite viewers to join the hidden desires of their creators and to recall situations forgotten or ignored by society. Madrid City murals introduce in their content the simple and popular everyday language, but also contain iconographic expressions purposely inserted in hidden lines. It is precisely this fact the object of study of this final thesis, with which it is intended to interpret the set of symbols and signs used by artists in their creative process, while discovering the messages transmitted or intended to be transmitted through the polychrome or monochrome tones of their artwork. It also seeks to get to know the perception of the passersby about murals in streets, churches, museums and parks. Some people might qualify them as a vandalism and rebellious expression of young dissidents to the system, but sometimes the viewer perceives it as the decorative shape that complements the vacuum of space. In the case of religious murals, these lead to renew faith, to fear and love spiritual leaders and institutions. It is our task to discover what the viewer sees in the statements made on walls and public spaces and in order to do so the passerby who observes or simple ignores it with disinterest will be questioned. Urban art is present in all postmodern societies as the artistic expression of the cultural industry or the result of spontaneity and immediacy represented by artists with cultural common training and low or middle social and cultural levels. These make use of such pictorial resource to express their divergences with the system through makeshift murals and graffiti of all kinds, or simply to display their talent through the color typical of the time. Many of these murals look quite nice, because with practice, the muralists have reached an acceptable perfection, although most of them use the daubing of nuances and exaggerated chromatic applications on walls and alleys of the city. On the other hand, there are those with a higher educational level than the previous ones, who make this expression a trade or modus vivendi, because their role is to beautify, decorate and inform, intervening spaces to achieve pleasant environments at the view of the passerby. Many of the murals of Madrid have meanings that go beyond what is observed with the naked eye, because some of them are an expression of the egocentric attitude of the artists who denounce or report spontaneously about a past, present or future event. There is no regulatory standard that delimits or establishes rules to the exhibitors of this art. However, the intervention of a space by a brush artist to express and report on relevant facts from their point of view is not the same as being hired to do a job on advertising. The demarcation of territory by a social disoriented person, making use of spray paint to delimit vandalism borders and littering walls is not the same as introducing decorative elements in the artwork, achieving certain esthetic level in the color combination. But the professional muralist can introduce in their work the use of symmetry in balanced compositions, achieving qualified and esthetic levels well accepted by the audience, even if it is a work of social content or an order to promote products, goods and services. Whatever the purpose of these artists, many of the street murals do not go unnoticed by citizens, either for the inconvenience that causes the visual noise or for the esthetic that embody the images that form this expression. The main purpose of this research is to discover all the elements involved in the creation of a mural, its visual speech, the iconographic ensemble translated into images that compose it and, at the same time, to find out how they are perceived by viewers. This research is aimed to address the following objectives: To identify the widest possible set of murals in the city of Madrid to take them as references for the research work. To perform a semiotic analysis of the murals of Madrid City to get to know its semiotic structure. To interpret the visual language and linguistic levels in which the murals of Madrid City communicate their speech, through spaces, images and colors. To conduct a thorough study of the images that makes up the murals of Madrid City to discover their hidden meaning. To discover the modus vivendi, educational background and lifestyle of the muralists who exhibit their works in Madrid City in order to identify their purposes and intentions with the exhibition of their art. To analyze how the viewer perceives the murals exhibited in Madrid City to get to know their views about these artistic expressions.
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Citation
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Recursos Electrónicos
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