Publication: Formas de acción y producción de las prácticas artísticas en la economía postfordista. Análisis de su potencialidad específica
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2017-06-23
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Universidad Complutense de Madrid
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Abstract
Hay quien espera del arte cierto carácter liberador. Algo así como la emancipación de una vida insuficiente, dañada. En palabras de César Rendueles (refiriéndose a la contribución que Benjamin le hizo a la crítica política): «sugieren la posibilidad la existencia de alternas intensas, vivificantes. (…) Nos habla de herramientas intelectuales que nos permiten superar esa oclusión posmoderna del pensamiento…» [Rendueles, 2015]. Sin embargo, cabe desconfiar de que el autoproclamado ́territorio de las arteś sirva efectivamente a tales fines. Nuestro estudio parte de la asunción de que la esfera simbólica de una sociedad (en la que está enmarcado el artworld) está al servicio de su sistema de gobierno, o mejor dicho, de gobernabilidad. En otras palabras, en la institución de legitimidad de un poder, el arte continúa siendo una herramienta privilegiada. Sin embargo, conforme ha ido progresando el grado de conciencia de la sociedad, los sistemas de legitimación se han ido sumergiendo y sofisticando. Actualmente operan mecanismos basados en la seducción. Son mecanismos que logran generar en los individuos actos de sumisión [auto-coacción] que, no obstante, sentimos como un deseo inconsciente, ́personaĺ. Así, en un panorama neoliberal, pragmatista y profundamente competitivo, la esfera simbólica facilita la reproducción de lógicas vitales que están sostenidas en cánticos a la libertad, a la personalidad individual o a la multi-experiencia. Los símbolos producen, finalmente, una tendencia que funciona en cadena y sirve de alienación...
This research addresses the manipulation of art as a means of gaining legitimacy, being this done from a twofold perspective, i.e. by authenticating an institution art itself is also legitimized. Despite this being a historical condition, the symbolic mechanisms used to carry it out have become more sophisticated and hidden away. Today, together with the postfordism model other barely perceptible systems also operate. These go beyond the very essence of the profession, transforming that task into an individual, infinite and preconscious wish which, in addition, invades many other occupations. Simultaneously, the terms 'culture' and 'creativity' have become populism tools which are constantly claimed for but often empty. Our study focuses on the context of Valladolid (Spain) from 2013 to 2015, when the city experienced a local flourishing of ́young art́. Despite this being a very specific case, its analysis can be easily extended to other locations, since it highlights it’s thought process and how it operates. An analysis of what we understand by conventional artist is done, considering the symbolic capital which dominates it and how this symbolism complicates a true professionalization. Consequently, we search for a competence of he who consideres himself an artist. A competence which is indifferent to artworld and potentially autonomous. It involves finding ways of actions that are contrary to the current expansion of neoliberalism, one of which, the artist is a clear precursor.
This research addresses the manipulation of art as a means of gaining legitimacy, being this done from a twofold perspective, i.e. by authenticating an institution art itself is also legitimized. Despite this being a historical condition, the symbolic mechanisms used to carry it out have become more sophisticated and hidden away. Today, together with the postfordism model other barely perceptible systems also operate. These go beyond the very essence of the profession, transforming that task into an individual, infinite and preconscious wish which, in addition, invades many other occupations. Simultaneously, the terms 'culture' and 'creativity' have become populism tools which are constantly claimed for but often empty. Our study focuses on the context of Valladolid (Spain) from 2013 to 2015, when the city experienced a local flourishing of ́young art́. Despite this being a very specific case, its analysis can be easily extended to other locations, since it highlights it’s thought process and how it operates. An analysis of what we understand by conventional artist is done, considering the symbolic capital which dominates it and how this symbolism complicates a true professionalization. Consequently, we search for a competence of he who consideres himself an artist. A competence which is indifferent to artworld and potentially autonomous. It involves finding ways of actions that are contrary to the current expansion of neoliberalism, one of which, the artist is a clear precursor.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 23 de noviembre de 2016 ; presidente, Antonio Muñoz Carrión