Publication: Vigencia del Atlas Mnemosyne, de Aby Warburg, en las prácticas artísticas contemporáneas (1985-2018). La memoria como recurso y el re-acontecer de la imagen
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2020-01-23
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Universidad Complutense de Madrid
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Abstract
La investigación realizada bajo título “Vigencia del Atlas Mnemosyne, de Aby Warburg, en las prácticas artísticas contemporáneas (1985-2018). La memoria como recurso y el re-acontecer de la imagen”, estudia modos de establecer sistemas que permitan relacionar la investigación del historiador mencionado, cuyo título refi ere a la diosa de la memoria de la mitología griega, con las prácticas actuales; es decir, una labor investigadora sobre la memoria, desde diferentes epistemologías, y el modo en que esta incide especialmente en los artistas a la hora de crear. Mostrando en ocasiones, temáticas antiguas ya en desuso, que vuelven sin embargo, a aparecer como motivo o detalles conformadores de trabajos artísticos actuales. Así, intenta abordar desde todos los planos posibles, qué es la memoria, lo memorable, el acto de recordar, etc. El modo en que el recurso a la memoria actúa en el artista cuando crea, en el espectador cuando experimenta; en el diálogo e intercambio de recursos que se produce a través del arte. Especialmente atendiendo al recurso memoria. El texto demuestra de modo práctico, la vigencia del “Atlas Mnemosyne”, indicando relaciones con el arte contemporáneo. Parte de una división de los 63 paneles en que quedó configurada esta obra basada en un sistema mnemotécnico sobre los intereses del historiador del arte Aby Warburg, en doce unidades de contenido justifi cadas. Dentro de ellas, se consignan contenidos epistemológicos; fundamentalmente de Filosofía, Psicología y Economía. A continuación, se hace un estudio según la fragmentación referida, que es correlativa según el orden de los paneles de dicho atlas. Este estudio, utiliza también el método del dibujo como herramienta práctica para aprehender contenidos. Los dibujos se realizan en el marco del pensamiento general de su autor, y se presentan comocarátulas ilustradas de cada capítulo. De este modo, en relación a cada uno de los doce apartados y con asociaciones fundamentadas, se consignan y describen prácticas artísticas contemporáneas del período acotado; 1985-2018.
The research carried out under the title “Currency of the Atlas Mnemosyne, by Aby Warburg, in contemporary artistic practices (1985-2018). Memory as a resource and the revival of the image”, studies ways of establishing systems that allow us to relate the historian’s research, which title refers to the goddess of memory of Greek mythology, with current practices; in other words, a research work on memory, from different epistemologies, and the way in which it especially affects artists when creating. Showing on occasions, old themes, already in disuse, that return to appear as motifs or shaping details of current artistic works. In this way, it attempts to approach from all possible perspectives, what memory is, what is memorable, the act of remembering, etc. The way in which it acts in the artist when he creates, in the spectator when he experiments; in the dialogue and exchange of resources that is produced through art. Specifi cally, in the fl ow of the memory resource during the development of this type of transaction. The text demonstrates in a practical way, the actuality of the “Atlas Mnemosyne”, showing his relationship with contemporary art. It is based on a division of the 63 panels, in which this work by art historian Aby Warburg was confi gured, based on a mnemonic system about the interests of art historian Aby Warburg, into twelve units of justifi ed content. Within them, epistemological contents are consigned; fundamentally from Philosophy, Psychology and Economy. Then, a study is made according to the fragmentation referred, that is correlative according to the order of the panels of that atlas. This study, which also uses the drawing method as a practical tool to apprehend contents, is carried out in the context of the general thought of its author. In this way, in relation to each of the twelve sections and with well-founded associations, some contemporary artistic practices of the limited period 1985-2018 are described.
The research carried out under the title “Currency of the Atlas Mnemosyne, by Aby Warburg, in contemporary artistic practices (1985-2018). Memory as a resource and the revival of the image”, studies ways of establishing systems that allow us to relate the historian’s research, which title refers to the goddess of memory of Greek mythology, with current practices; in other words, a research work on memory, from different epistemologies, and the way in which it especially affects artists when creating. Showing on occasions, old themes, already in disuse, that return to appear as motifs or shaping details of current artistic works. In this way, it attempts to approach from all possible perspectives, what memory is, what is memorable, the act of remembering, etc. The way in which it acts in the artist when he creates, in the spectator when he experiments; in the dialogue and exchange of resources that is produced through art. Specifi cally, in the fl ow of the memory resource during the development of this type of transaction. The text demonstrates in a practical way, the actuality of the “Atlas Mnemosyne”, showing his relationship with contemporary art. It is based on a division of the 63 panels, in which this work by art historian Aby Warburg was confi gured, based on a mnemonic system about the interests of art historian Aby Warburg, into twelve units of justifi ed content. Within them, epistemological contents are consigned; fundamentally from Philosophy, Psychology and Economy. Then, a study is made according to the fragmentation referred, that is correlative according to the order of the panels of that atlas. This study, which also uses the drawing method as a practical tool to apprehend contents, is carried out in the context of the general thought of its author. In this way, in relation to each of the twelve sections and with well-founded associations, some contemporary artistic practices of the limited period 1985-2018 are described.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 14/10/2019