Publication: Poética mística sin relojes ni esquinas: análisis de la obra "Aguaespejo granadino" de José Val del Omar
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2016-06-10
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Llorente Barroso, María del Carmen
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Universidad Complutense de Madrid
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Abstract
Hay figuras que se escapan de sus contemporáneos como el agua entre los dedos. Autores difícilmente clasificables, cuya magnitud es apenas intuida hasta pasados muchos años del nacimiento de su obra. Hay autores que trabajan para siempre. Es el caso de artistas como Federico García Lorca, Antonio Gaudí, Franz Kafka, Víctor Erice, Andrei Tarkowski o tantos otros. Autores que avanzan en la oscuridad. Autores que caminan sin red por la cuerda floja, sin conocer hacia dónde van. Autores que exploran nuevos territorios en nombre de la humanidad. Autores que rozan lo inefable, que nos asoman al abismo insondable. Y a esta clase pertenece también el cineasta granadino José Val del Omar. Y se dice cineasta porque ni él mismo logró encontrar una palabra que definiera lo que hacía. Cinemista, cinegrafía, mecamística… son términos que necesitó forjar porque en la oscuridad los objetos se vuelven ininteligibles, pero necesitamos poner nombre a las cosas para que existan. Val del Omar está mucho más cerca de Rimbaud que de Willy Wilder a pesar de que las categorías convencionales digan lo contrario. La naturaleza de su obra se resiste por definición a cualquier análisis o método de razonamiento lógicodeductivo, y sin embargo sentimos la necesidad de abordarlo en el intento de adentrarnos un poco más en esas imágenes oníricas que sin saber porqué nos fascinan misteriosamente como mariposas atraídas por la luz, que diría el propio protagonista de este trabajo. Val del Omar dedicó su vida a producir apenas 61 minutos de celuloide, de los cuales 21 son objeto de este estudio, y sin embargo escribió literalmente miles de páginas sobre ello. Para escribir durante toda una vida basta observar lo que sucede en un vaso de agua, decía Valéry, y José Val del Omar descubrió, y nos descubrió a nosotros que el misterio se encierra en las cosas pequeñas, o como diría el maestro, “en los pliegues de lo chiquito”. Quien se dedica a profundizar en su entorno sabe bien que ése vislumbre se produce en contadas ocasiones y es sólo el premio de muchas horas, días, meses incluso años de trabajo. El genio de Granada filmó una y otra vez las pequeñas cosas de su entorno hasta prácticamente el día de su muerte, buscando desvelar este misterio de las cosas. José Val del Omar ha sido comparado en numerosas ocasiones con San Juan de la Cruz y Santa Teresa, ha sido definido como un inventor adelantado a su tiempo, ha sido calificado de visionario, de ingeniero, de artista, poeta…, y lo cierto es que todos y ninguno tienen razón, pues Val del Omar se transformó en su propia obra hasta el punto de confundirse con ella. Su figura resulta pues tan impenetrable como sus propias cintas y tan enigmática y fascinante como ellas...
There are people who pass though its contemporaries like water through fingers. There are authors difficult to classify, whose impact is only noticed years after the birth of their work. There are authors who work always. It’s the case of artists like Federico Garcia Lorca, Antonio Gaudi, Franz Kafka, Victor Erice, Andrei Tarkowski or many others There are authors who develop in the dark. There are authors without a network and without knowing where they are going. There authors exploring new territories in the name of humanity. Authors that touch the ineffable, that we overlook the bottomless pit. Granada filmmaker José Val del Omar belongs to this kind. I’m not sure that filmmaker is the word that defines what he did. Filmer, cinegrafía, mecamística ... are terms that he created because in the darkness the objects become surreal, but we need to name things that exist. Val del Omar is much closer to Rimbaud than to Willy Wilder despite what conventional categories say. The nature of his work rejects any analysis or logicaldeductive reasoning but we feel the need to address it trying to delve a little deeper into these dream images without knowing why we are fascinated by it like butterflies mysteriously attracted by light, as the subjct of this work would say himself. Val del Omar dedicated his life to produce just 61 minutes of celluloid, of which 21 are the subject of this study, and yet he wrote thousands of pages about it. To write over a lifetime is enough to observe what happens in a glass of water, said Valéry, and José Val del Omar showed to us that the mystery is in little things, or as the master used to say, "in the tiny folds ". Who deepens on its surroundings knows that enlightment occurs rarely and y and only after many hours, days, months, even years of work. The genius of Granada filmed over and over small things around until almost the day he died, seeking to unveil the mystery of things. José Val del Omar has been compared many times to John of the Cross and St. Teresa, has been defined as an inventor ahead of his time, he has been described as visionary, engineer, artist, poet ... and the truth is all and none are right, Val del Omar became his own work to the point of being confused with it. His person is as impenetrable as his own tapes and as enigmatic and fascinating like them...
There are people who pass though its contemporaries like water through fingers. There are authors difficult to classify, whose impact is only noticed years after the birth of their work. There are authors who work always. It’s the case of artists like Federico Garcia Lorca, Antonio Gaudi, Franz Kafka, Victor Erice, Andrei Tarkowski or many others There are authors who develop in the dark. There are authors without a network and without knowing where they are going. There authors exploring new territories in the name of humanity. Authors that touch the ineffable, that we overlook the bottomless pit. Granada filmmaker José Val del Omar belongs to this kind. I’m not sure that filmmaker is the word that defines what he did. Filmer, cinegrafía, mecamística ... are terms that he created because in the darkness the objects become surreal, but we need to name things that exist. Val del Omar is much closer to Rimbaud than to Willy Wilder despite what conventional categories say. The nature of his work rejects any analysis or logicaldeductive reasoning but we feel the need to address it trying to delve a little deeper into these dream images without knowing why we are fascinated by it like butterflies mysteriously attracted by light, as the subjct of this work would say himself. Val del Omar dedicated his life to produce just 61 minutes of celluloid, of which 21 are the subject of this study, and yet he wrote thousands of pages about it. To write over a lifetime is enough to observe what happens in a glass of water, said Valéry, and José Val del Omar showed to us that the mystery is in little things, or as the master used to say, "in the tiny folds ". Who deepens on its surroundings knows that enlightment occurs rarely and y and only after many hours, days, months, even years of work. The genius of Granada filmed over and over small things around until almost the day he died, seeking to unveil the mystery of things. José Val del Omar has been compared many times to John of the Cross and St. Teresa, has been defined as an inventor ahead of his time, he has been described as visionary, engineer, artist, poet ... and the truth is all and none are right, Val del Omar became his own work to the point of being confused with it. His person is as impenetrable as his own tapes and as enigmatic and fascinating like them...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 30-11-2015