Publication: La ruina como réplica. El instante protocontemporáneo
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2021-05-05
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Universidad Complutense de Madrid
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Abstract
Esta investigación está dedicada a la identificación y estudio de lo protocontemporáneo –adelantado en el capítulo "terminología"–; concepto al que quedan adscritas una serie de prácticas artísticas que, aunque localizadas dentro de lo que se viene a conocer como 'corriente arqueológica' del arte contemporáneo (en las últimas tres décadas), son susceptibles de ser consideradas de una forma independiente. Lo que este estudio descubre y pone de manifiesto es que tal serie de prácticas inaugura una manera de concebir la 'ruina' (el concepto clave sobre el que se erige la arqueología) tan propia que hace que la taxonomía previa, que se derivaba de su definición, quede obsoleta y no tenga la capacidad de albergar estas prácticas; trabajos cuya voluntad arqueológica, por otra parte, queda manifiesta –como se mostrará ampliamente– en su trabajo explícito y voluntario con metodologías, formatos, formas, lugares y técnicas de investigación arqueológicas que formulan parte o la totalidad de la obra artística. De aquí en adelante se hará referencia a estas obras con el término de lo 'protocontemporáneo'.
Este nuevo 'tipo' de ruina sobre el que estos comportamientos artísticos trabajan se denominará en el presente estudio 'la ruina como réplica'. La existencia autónoma de esta serie de prácticas artísticas será mostrada a través del estudio y análisis pormenorizado de las mismas. La presente investigación defenderá que el conjunto de obras afines al trabajo con este nuevo 'tipo' de ruina tiene características suficientemente independientes para ser considerado autónomo con respecto de la corriente arqueológica anteriormente mencionada. Como hasta la fecha carecía de nombre o estudios monográficos dedicados, el campo de estas prácticas artísticas se denominará a lo largo de la investigación lo 'protocontemporáneo'.
El análisis de lo protocontemporáneo se ha enfocado en un elemento arqueológico concreto, perenne en todas las prácticas examinadas en esta tesis: la ruina. Originalmente 'Ruina', es un concepto central en la arqueología después rematerializado en categoría estética. Observando su propia historia, se ha detectado un problema taxonómico sin resolver, pues quedaban englobados, dentro de esta misma categoría de 'Ruina', elementos con diferencias tan amplias e intenciones tan dispares y substancialmente tan distintas que era insólito encontrarlos bajo el mismo término...
This research is focused on the identification and study of a number of artistic practices that, although located within what has been known, over the past three decades, as the 'archaeological current' of contemporary art are likely to be considered independently of it. This study reveals that these practices have initiated a unique way of conceiving 'Ruin' (the key concept on which archaeology is built) which make the previous taxonomy, derived from this definition, outdated and without the capacity to accommodate them. This thesis will show that these practices whose archaeological drive, on the other hand, is evident in their explicit and elective work with archaeological research methods, formats, forms, places and techniques formulate part or all of the artistic work. This new 'type' of ruin is referred to in this study as 'the Ruin as a replica'. The autonomous existence of this series of artistic practices are shown through detailed study and analysis. This research defends the position that the set of practices related to working with this new 'type' of ruin has sufficient independent characteristics to be considered autonomous with respect to the aforementioned archaeological trend. Throughout this investigation, because it has lacked a name or dedicated monographic studies, the field of these artistic practices is called the 'proto-contemporary'. The analysis of this trend has focused on a specific archaeological element underlying all the practices examined in this thesis. The 'Ruin', an original and central concept in archaeology, has now re-materialised as an aesthetic category. This created a taxonomic problem because, within the same category, elements with such wide differences and disparate and substantially different intentions were classified under the same term...
This research is focused on the identification and study of a number of artistic practices that, although located within what has been known, over the past three decades, as the 'archaeological current' of contemporary art are likely to be considered independently of it. This study reveals that these practices have initiated a unique way of conceiving 'Ruin' (the key concept on which archaeology is built) which make the previous taxonomy, derived from this definition, outdated and without the capacity to accommodate them. This thesis will show that these practices whose archaeological drive, on the other hand, is evident in their explicit and elective work with archaeological research methods, formats, forms, places and techniques formulate part or all of the artistic work. This new 'type' of ruin is referred to in this study as 'the Ruin as a replica'. The autonomous existence of this series of artistic practices are shown through detailed study and analysis. This research defends the position that the set of practices related to working with this new 'type' of ruin has sufficient independent characteristics to be considered autonomous with respect to the aforementioned archaeological trend. Throughout this investigation, because it has lacked a name or dedicated monographic studies, the field of these artistic practices is called the 'proto-contemporary'. The analysis of this trend has focused on a specific archaeological element underlying all the practices examined in this thesis. The 'Ruin', an original and central concept in archaeology, has now re-materialised as an aesthetic category. This created a taxonomic problem because, within the same category, elements with such wide differences and disparate and substantially different intentions were classified under the same term...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 8 de febrero de 2021