Publication: Representaciones, transformaciones e intervenciones en el paisaje de ruinas de Roma a Passaic
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2019-06-24
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Universidad Complutense de Madrid
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Abstract
La presente investigación comienza con un enigma que el artista Robert Smithson plantea casi al final de su ensayo Tour por los monumentos de Passaic, Nueva Jersey (Artforum, 1967): mirando el paisaje desolado y desértico de esta ciudad se preguntaba si Passaic podría haber sustituido a Roma como Ciudad Eterna. El asunto que presentaba Robert Smithson es significativo puesto que, efectivamente, el artista contemporáneo había comenzado a fijarse en los paisajes marginales, en las tierras baldías y en los eriales, de forma similar a la que los pintores románticos habían contemplado las ruinas de la Antigüedad, con una mirada nostálgica y melancólica hacia la ruina (ahora el descampado) como reflejo del tiempo que se iba y del futuro, quizás apocalíptico, que estaba por venir...
The present investigation opens with a question which the artist Robert Smithson brought up near the end of his essay A Tour of the Monuments of Passaic, New Jersey (Artforum, 1967): looking at the desolate landscape of this city he wondered whether Passaic could have ever replaced Rome as the Eternal City. The question posed by Smithson is of significance because the contemporary artist had indeed begun to notice these marginal landscapes, the barren fields and wastelands, just like the romantic painters before him had contemplated the ruins of the Antiquity; a nostalgic and melancholic look at the Ruin (now a vacant piece of land) as an echo of times passed and futures, maybe even apocalyptic, still to come...
The present investigation opens with a question which the artist Robert Smithson brought up near the end of his essay A Tour of the Monuments of Passaic, New Jersey (Artforum, 1967): looking at the desolate landscape of this city he wondered whether Passaic could have ever replaced Rome as the Eternal City. The question posed by Smithson is of significance because the contemporary artist had indeed begun to notice these marginal landscapes, the barren fields and wastelands, just like the romantic painters before him had contemplated the ruins of the Antiquity; a nostalgic and melancholic look at the Ruin (now a vacant piece of land) as an echo of times passed and futures, maybe even apocalyptic, still to come...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 5-12-2018