Publication: No tengo nada que ver: el testigo y el testimonio en las elaboraciones artísticas que tratan de la guerra (en el período 1961-2011)
Loading...
Files
Official URL
Full text at PDC
Publication Date
2016-09-26
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Universidad Complutense de Madrid
Citations
Exportar
Abstract
Una avalancha de testimonios individuales envuelve nuestra cotidianidad. En la actualidad, y gracias a las posibilidades que ofrecen los dispositivos móviles conectados a la red, pueden intercambiarse datos e informaciones de experiencias propias sin intermediarios. La transmisión de lo acontecido se da al tiempo que los hechos están teniendo lugar. La situación se define como un nudo formado por el acontecimiento, el relato del mismo y su proyección hacia el futuro. En el centro de dicho nudo se encuentra la matriz de estas investigaciones: el testigo. En este caso, el testigo de la guerra que, mediante su testimonio (en forma de elaboración artística), da a ver su propia experiencia. Como punto de partida, esta tesis comienza con un acercamiento a propuestas artísticas situadas temporalmente entre la aparición de la fotografía, en la década de los treinta del siglo XIX, y el fin de la Segunda Guerra Mundial. En ningún caso la selección de artistas y obras se presentan como casos paradigmáticos, sino que funcionan como una muestra acompañante y entrelazada con el desarrollo teórico llevado a cabo durante el trabajo indagador...
An avalanche of individual testimonies envelops our everyday life. Nowadays, thanks to the possibilities opened up by mobile devices connected to the network, data and information about personal experiences can be exchanged directly without intermediaries. Conveying what is happening takes place at the same time as the events themselves. The situation is defined as a nexus formed by the event, the account of the same, and its projection into the future. At the heart of that nexus is the nub of this research: the witness. In this case, this is the witness to war whose testimony (in the form of artistic creation) lets us see their own experience. This thesis starts with a description of the artistic endeavours situated in time in the period between the advent of photography, in the fourth decade of the nineteenth century, and the end of the Second World War. The artists and works presented are never intended to be taken as paradigmatic cases, but serve as a sample for illustration, intertwined with the theoretical development undertaken during the research work...
An avalanche of individual testimonies envelops our everyday life. Nowadays, thanks to the possibilities opened up by mobile devices connected to the network, data and information about personal experiences can be exchanged directly without intermediaries. Conveying what is happening takes place at the same time as the events themselves. The situation is defined as a nexus formed by the event, the account of the same, and its projection into the future. At the heart of that nexus is the nub of this research: the witness. In this case, this is the witness to war whose testimony (in the form of artistic creation) lets us see their own experience. This thesis starts with a description of the artistic endeavours situated in time in the period between the advent of photography, in the fourth decade of the nineteenth century, and the end of the Second World War. The artists and works presented are never intended to be taken as paradigmatic cases, but serve as a sample for illustration, intertwined with the theoretical development undertaken during the research work...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 25 de enero de 2016 ; presidente, Aurora Fernández Polanco