Publication: La autobiografía de artista en la contemporaneidad española
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2022-09-06
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Universidad Complutense de Madrid
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Abstract
Esta tesis doctoral explora las relaciones entre arte y autobiografía en la contemporaneidad española a través del artefacto cultural que se ha denominado autobiografía de artista. A pesar de la dificultad de definición de cada término por separado, la autobiografía de artista podría formularse como el relato retrospectivo en prosa que un artista real hace de su propia existencia, poniendo énfasis en la interacción entre vida y obra. El argumento parte de la constatación de que las autobiografías escritas por artistas plásticos han quedado marginadas del canon general de la autobiografía y, en el caso concreto de España, que a los tópicos recurrentes en la historia nacional de las literaturas del yo se les añadieron además otros prejuicios derivados de la profesión de sus autores. El giro que propone esta tesis consiste en tomar precisamente aquello que les valió la exclusión de los grandes relatos y utilizarlo como base para estudiar sus características específicas. La hipótesis de partida es triple: primero, que el artista tiene entidad como sujeto autobiográfico y consistencia en tanto que colectivo autorial; segundo, que esa posición procede de las tradiciones discursivas que le son propias, y por tanto que no sigue las referencias ortodoxas de San Agustín, Santa Teresa o Rousseau sino más bien a sus colegas Miguel Ángel, Cellini o Frenhofer, según los presenta respectivamente la biografía, la autobiografía o la novela del artista; tercero, que los discursos sobre arte fomentan procesos de subjetivación diferenciales, pues el anacronismo, la materialidad y el aura de la obra de arte desbordan las concepciones habituales sobre tiempo, espacio e identidad. De acuerdo con estas premisas, la tesis plantea la autobiografía de artista como una interfaz en la que interactúan a la vez palabra e imagen, narratividad y visualidad, y adopta un enfoque interdisciplinar en línea con las epistemologías y metodologías del análisis cultural...
This doctoral thesis explores the relationships between art and autobiography in contemporary Spain through the cultural artifact known as artist's autobiography. Despite the difficulty of defining each term separately, the artist's autobiography could be formulated as a retrospective account in prose that a real artist makes of his own existence, emphasizing the interaction between life and work. The argument starts from the verification that autobiographies written by visual artists have been marginalized from the general canon of autobiographies and, in the specific case of Spain, that other prejudices derived from the profession of their authors were also added to the recurring topics in the national history of the Literatures of the Self. The turn that this thesis proposes consists of taking precisely those aspects which excluded artists’autobiographies from the great stories and using them as a basis for speculating on its specific characteristics.The starting hypothesis is threefold: first, that the artist has an entity as an autobiographical subject and consistency as an authorial collective; second, that this position comes from relatable discursive traditions, and therefore that it does not follow the orthodox references of Saint Augustine, Saint Teresa or Rousseau but rather those of their colleagues: Michelangelo, Cellini or Frenhofer, as presented, respectively, by the biography, the artist's autobiography or the novel; third, that discourses on art promote differential subjectivation processes, since the anachronism, materiality and aura of the work of art go beyond the usual conceptions about time, space and identity. In accordance with these premises, the thesis presents the artist's autobiography as an interface in which word and image, narrativity and visuality, interact at the same time, and adopts an interdisciplinary approach in line with the epistemologies and methodologies of cultural analysis...
This doctoral thesis explores the relationships between art and autobiography in contemporary Spain through the cultural artifact known as artist's autobiography. Despite the difficulty of defining each term separately, the artist's autobiography could be formulated as a retrospective account in prose that a real artist makes of his own existence, emphasizing the interaction between life and work. The argument starts from the verification that autobiographies written by visual artists have been marginalized from the general canon of autobiographies and, in the specific case of Spain, that other prejudices derived from the profession of their authors were also added to the recurring topics in the national history of the Literatures of the Self. The turn that this thesis proposes consists of taking precisely those aspects which excluded artists’autobiographies from the great stories and using them as a basis for speculating on its specific characteristics.The starting hypothesis is threefold: first, that the artist has an entity as an autobiographical subject and consistency as an authorial collective; second, that this position comes from relatable discursive traditions, and therefore that it does not follow the orthodox references of Saint Augustine, Saint Teresa or Rousseau but rather those of their colleagues: Michelangelo, Cellini or Frenhofer, as presented, respectively, by the biography, the artist's autobiography or the novel; third, that discourses on art promote differential subjectivation processes, since the anachronism, materiality and aura of the work of art go beyond the usual conceptions about time, space and identity. In accordance with these premises, the thesis presents the artist's autobiography as an interface in which word and image, narrativity and visuality, interact at the same time, and adopts an interdisciplinary approach in line with the epistemologies and methodologies of cultural analysis...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 04/05/2022