Publication: El concepto del doble en la fotografía artística: el Doppelgänger
Loading...
Files
Official URL
Full text at PDC
Publication Date
2016-09-27
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
El Doppelgänger, doble amenazante que responde a una pulsión de muerte, es una constante en la cultura popular y en la historia del arte. La tesis plantea y defiende el Doppelgänger como una tipología artística con entidad propia. A través del estudio de autores y proyectos, se defiende una tendencia fotográfica actual que posee unos elementos comunes vertebradores: la búsqueda de lo ominoso, una tendencia pictorialista, la narración fragmentada, la escenificación, la multiplicación del sujeto o sujetos, y unos complejos factores psicológicos subyacentes. Lo novedoso de esta investigación reside no solo en la recopilación y datación taxonómica de una tendencia artística (que en este caso utiliza el medio fotográfico), sino en el análisis de sus implicaciones y su pertinencia dentro de una tradición de lo pictórico y lo narrativo, así como en el contexto del arte actual. Hemos presentado el Doppelgänger como una nueva tipología fotográfica que, aunque como tal ha empezado a adquirir entidad propia en la actualidad, ya cuenta una gran variedad de artistas que enmarcan su quehacer artístico dentro de sus parámetros. Resulta, sin duda, difícil realizar una clasificación o taxonomía fija a partir de un conjunto de artistas que responden a una misma tipología, y más cuando la procedencia, inspiración y la concepción conceptual de la obra puede parecer dispar en exceso. Por ello hemos comprobado que más que unas taxonomías precisas, lo que se ha puesto de manifiesto en esta tesis es una flexibilidad de la propia tipología para acoger propuestas artísticas y fotográficas que, de manera puntual o constante, comparten una visión de lo doble a través de lo fotográfico, de las relaciones internas de la imagen y de las relaciones externas con el espectador, y unos modos de expresionismo y sentimiento singularmente codificados afines a todos ellos...
The Doppelgänger, threatening doble that responds to a death instinct, is a constant in popular culture and art history. This thesis raises and defends the Doppelgänger as an artistic typology with a character of its own. Through the study of authors and projects, a photographic trend is discussed, and some structural common elements are detected: the search for the ominous, a pictorialist trend, the fragmented narrative, staging, the multiplication of the subject, and some complex underlying psychological factors. The interest of this investigation relies not only in the collection and taxonomic datation of an artistic trend (which in this case utilises the photographic medium), but also in the analysis of its implications and its relevance within a pictorial and narrative tradition, as well as within the context of contemporary art. The Doppelgänger is presented as a new photographic typology that, though it has begun to acquire own entity as such, it already counts with a great diversity of artists that frame their artistic work within its parameters. It is certainly difficult to classify or make a fixed taxonomy from a set of artists who seem to respond to the same type, even more when the sources, inspiration and conceptual design of the work may seem excessively disparate. Therefore we have found that more than precise taxonomies, what has been shown in this thesis is a flexibility on the type itself to host artistic and photographic proposals that, occassionally of constantly, share a visión of the double through the photographic, the internal relationships of the image and the external relationships with the viewer, and some uniquely coded expression and feeling modes related to them all...
The Doppelgänger, threatening doble that responds to a death instinct, is a constant in popular culture and art history. This thesis raises and defends the Doppelgänger as an artistic typology with a character of its own. Through the study of authors and projects, a photographic trend is discussed, and some structural common elements are detected: the search for the ominous, a pictorialist trend, the fragmented narrative, staging, the multiplication of the subject, and some complex underlying psychological factors. The interest of this investigation relies not only in the collection and taxonomic datation of an artistic trend (which in this case utilises the photographic medium), but also in the analysis of its implications and its relevance within a pictorial and narrative tradition, as well as within the context of contemporary art. The Doppelgänger is presented as a new photographic typology that, though it has begun to acquire own entity as such, it already counts with a great diversity of artists that frame their artistic work within its parameters. It is certainly difficult to classify or make a fixed taxonomy from a set of artists who seem to respond to the same type, even more when the sources, inspiration and conceptual design of the work may seem excessively disparate. Therefore we have found that more than precise taxonomies, what has been shown in this thesis is a flexibility on the type itself to host artistic and photographic proposals that, occassionally of constantly, share a visión of the double through the photographic, the internal relationships of the image and the external relationships with the viewer, and some uniquely coded expression and feeling modes related to them all...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Pintura, leída el 22 de enero de 2016 ; presidente, Beatriz Fernández Ruiz