Publication: Enunciar la ausencia. Imágenes de desaparición forzosa en prácticas de arte contemporáneo
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2018-04-06
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Universidad Complutense de Madrid
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Abstract
Esta tesis doctoral es una investigación sobre imágenes que faltan en el mundo contemporáneo.Las buscamos primero en el pasado, recogiéndolas para traerlas al presente. Entendemos los tiempos entremezclados y el pasado como un tiempo activo que permanece abierto en el presente. Por tanto, la investigación trabaja bajo la noción de historia abierta, estudiando borraduras y silencios para proponer una reescritura a través de las imágenes, que incorpore memorias y relatos ausentes. Se trata de imágenes sobre realidades políticas y sociales, por lo que investigamos relaciones entre arte, política, poder, historia y memoria centrándonos en el aparecer-desaparecer. Todo ello en el contexto de la desaparición forzosa, que es el tema central de estudio. Es una investigación en el diálogo generado entre estas tensiones, pensando el arte como construcción de nuevas realidades, de posibles mundos a través de las imágenes y del hacer. Metodológicamente, esta tesis aborda las prácticas artísticas como investigación, trabajando a partir del desarrollo de unas obras que tratan sobre períodos dictatoriales de la historia de dos países, Chile y España, en los que la subjetividad y los cuerpos han estado sometidos a la violencia, a la represión, al confinamiento, a la muerte y desaparición por parte del Estado. Si bien son distantes geográficamente, comparten temas pendientes, relatos y experiencias, además de estar directamente implicados en el contexto y biografía de la artista-investigadora. Por eso, se trabaja desde los conocimientos situados, asumiendo nuestra parcialidad y posición. Hemos trabajado a través de estudios de casos (“pensar por casos”), propio también de la práctica artística como investigación y con el ensayo, que no cierra el discurso sino que lo articula en un montaje que plantea, a la vez, nuevos problemas. También hemos desdibujado bordes disciplinares, ya que los procesos han estado contaminados por la arqueología, en términos de excavación histórica; por la antropología, mediante el trabajo de campo; y por la historia, a través del trabajo con archivos y documentos. Y hemos participado en prácticas artísticas colaborativas y relacionales que, desde lo técnico, plantean mestizajes híbridos entre el textil y lo fotográfico, el sonido y el video. Las preguntas de investigación tienen que ver también con los diversos haceres del arte, con los modos de hacer para visibilizar las ausencias y crear o traer presencia...
This doctoral thesis is an investigation about missing images in the contemporary world. First we search for those images in the past, we collect them and then we bring them to the present. We think of the intermixed times and the past as an active time that remains open in the present. Therefore, the research enrols under the notion of open history. By studying its erasures and silences in order to propose a rewriting through images in order to incorporate memories and stories that have been absent. It’s about images of political and social realities. Thereupon we investigate relations between art, politics, power, history and memory by centring on the binomial of appear / disappear. All this in the context of the forced disappearance, which is the central theme of the study. It is an investigation in the dialogue generated between these tensions, considering the art as the construction of new realities and of possible worlds, through images and through the artistic practise. Methodologically, this thesis is a practice-based research. Standing from the development of a number of artistic works, which deals with the dictatorial periods in Chile and Spain. In these periods, and in both countries, the subjectivity and the bodies have been submitted to violence, repression, confinement, death and disappearance on the hands of their State forces. Although they are geographically distant countries, they have outstanding themes, stories and experiences in common as well as being directly involved in the context and the biography of the artistresearcher.Likewise, it is worked from the situated knowledge considering our partiality and our position. We have worked studying cases (“Think by case”) (which is proper of the artistic practice as research) and with the essay (which does not close the speech but articulates it in an assembly that raises at the same time new problems). We have also blurred the disciplinary boundaries, since the processes of my practice have been contaminated by archaeology in terms of historical excavation; by anthropology through fieldwork; and by history while working with archives and documents. We have participated in collaborative and relational art practises, which, from the technical point of view, pose hybrid mixtures between the textile and the photographic, also between the sound and the video. The questions of the investigation are related to the various practises of art and with the ways of doing in order to make the absences visible and to create or to bring presence...
This doctoral thesis is an investigation about missing images in the contemporary world. First we search for those images in the past, we collect them and then we bring them to the present. We think of the intermixed times and the past as an active time that remains open in the present. Therefore, the research enrols under the notion of open history. By studying its erasures and silences in order to propose a rewriting through images in order to incorporate memories and stories that have been absent. It’s about images of political and social realities. Thereupon we investigate relations between art, politics, power, history and memory by centring on the binomial of appear / disappear. All this in the context of the forced disappearance, which is the central theme of the study. It is an investigation in the dialogue generated between these tensions, considering the art as the construction of new realities and of possible worlds, through images and through the artistic practise. Methodologically, this thesis is a practice-based research. Standing from the development of a number of artistic works, which deals with the dictatorial periods in Chile and Spain. In these periods, and in both countries, the subjectivity and the bodies have been submitted to violence, repression, confinement, death and disappearance on the hands of their State forces. Although they are geographically distant countries, they have outstanding themes, stories and experiences in common as well as being directly involved in the context and the biography of the artistresearcher.Likewise, it is worked from the situated knowledge considering our partiality and our position. We have worked studying cases (“Think by case”) (which is proper of the artistic practice as research) and with the essay (which does not close the speech but articulates it in an assembly that raises at the same time new problems). We have also blurred the disciplinary boundaries, since the processes of my practice have been contaminated by archaeology in terms of historical excavation; by anthropology through fieldwork; and by history while working with archives and documents. We have participated in collaborative and relational art practises, which, from the technical point of view, pose hybrid mixtures between the textile and the photographic, also between the sound and the video. The questions of the investigation are related to the various practises of art and with the ways of doing in order to make the absences visible and to create or to bring presence...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Historia del Arte III, leída el 6-06-2017