Arte Y Comida En La Creación Contemporánea Desde Un Enfoque De Género

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Arte Y Comida En La Creación Contemporánea Desde Un Enfoque De Género TESIS DOCTORAL ARTE Y COMIDA EN LA CREACIÓN CONTEMPORÁNEA DESDE UN ENFOQUE DE GÉNERO Doctoranda: María del Carmen Díaz Ruiz Directora: María Teresa Méndez Baiges Estudios Avanzados en Humanidades: Historia, Arte, Filosofía y Ciencias de la Antigüedad Facultad de Filosofía y Letras UNIVERSIDAD DE MÁLAGA, 2017 AUTOR: María del Carmen Díaz Ruiz http://orcid.org/0000-0002-2169-8415 EDITA: Publicaciones y Divulgación Científica. Universidad de Málaga Esta obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial- SinObraDerivada 4.0 Internacional: http://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cualquier parte de esta obra se puede reproducir sin autorización pero con el reconocimiento y atribución de los autores. No se puede hacer uso comercial de la obra y no se puede alterar, transformar o hacer obras derivadas. Esta Tesis Doctoral está depositada en el Repositorio Institucional de la Universidad de Málaga (RIUMA): riuma.uma.es TESIS DOCTORAL ARTE Y COMIDA EN LA CREACIÓN CONTEMPORÁNEA DESDE UN ENFOQUE DE GÉNERO Doctoranda: María del Carmen Díaz Ruiz Directora: María Teresa Méndez Baiges Estudios Avanzados en Humanidades: Historia, Arte, Filosofía y Ciencias de la Antigüedad Facultad de Filosofía y Letras UNIVERSIDAD DE MÁLAGA, 2017 2 AGRADECIMIENTOS Las páginas que presento son el resultado de la investigación realizada durante los últimos cinco años. En este recorrido, la investigación se ha visto enriquecida por las aportaciones y consejos de personas como Beatriz Colomina, Estela Ocampo, Cecilia Novero y Lisl Hampton, sin cuyas contribuciones hubiera sido imposible. Me gustaría agradecer también a mis profesores por sus palabras llenas de sabiduría. Debo también agradecer a todas las personas de archivos y bibliotecas quienes me han ayudado y facilitado la labor de investigación, especialmente a Inmaculada Domínguez por su amabilidad durante tantos años. En el plano personal quiero agradecer a todos mis amigos y compañeros por su generosidad, cariño y por entender mi dedicación a este proyecto y mis ausencias. Sin su apoyo durante estos años, este trabajo no hubiera sido posible. En especial agradezco a Naser Rodriguez, por su amistad todos estos años. Este camino no podría haberlo recorrido sin mi directora María Teresa Méndez Baiges, quien durante todos estos años ha contribuido con su experiencia y profesionalidad investigadora a mejorar las distintas fases del trabajo, y quien generosamente me ha brindado y demostrado durante todos estos años su confianza, amistad y paciencia necesaria para llevar a buen término la investigación. Gracias por acompañarme todos estos años y ser mi ejemplo intelectual y humano. Gracias a mi familia, y en especial a mis hermanas, Remedios e Isabel por su ayuda y apoyo. A Víctor, mi pareja, por acompañarme pacientemente y entender mi dedicación con cariño. Por último, quiero expresar mi gratitud a mis padres por su apoyo incondicional en mi formación académica y mi vida, sin quienes nada de esto hubiera sido posible. 3 4 5 6 ÍNDICE INTRODUCCIÓN 11 CAPÍTULO I. EL BANQUETE 25 1.1. Introducción al banquete en el arte. La participación del comensal como factor artístico 26 1.2. Banquete y género 36 1.2.1. El banquete en el universo masculino 36 1.2.2. El banquete en el arte hecho por mujeres 37 CAPÍTULO II. MUJER COMIDA 2.1. Introducción 81 2.1.1. El desnudo femenino 83 2.1.2. El bodegón como género artístico La pintura de naturalezas muertas y la representación de la comida 114 2.2. La mujer como bodegón 136 2.2.1. Origen de la relación entre el cuerpo desnudo y la comida 138 2.2.2. La jerarquía de los sentidos en la representación del desnudo femenino 140 2.2.3. Representación de la mujer como fuente de alimento. La mujer nutricia 152 2.2.4. Hombres que devoran a las mujeres. Los caníbales 162 2.2.5. Cambio de perspectiva: mujeres representando la voracidad femenina 200 7 2.2.5.1. Mujeres surrealistas 202 2.2.5.2. Artistas en la posmodernidad. Mujeres fragmentadas y devoradas 223 CAPÍTULO III. EL ÁMBITO DOMÉSTICO: LA MUJER EN LA COCINA 261 3.1. Planteamientos filosóficos sobre el acto de cocinar 262 3.2. Artistas entre fogones. Cocinar como acto de creación artística 274 3.2.1. “El arte de alimentarse”. El manifiesto de la comida futurista 276 3.2.2. La “Antidieta” Dadá 283 3.2.3. Arte Pop: Warhol, el habitante de la superficie 291 3.2.4. El simbolismo de los alimentos. Joseph Beuys 301 3.2.5. El nacimiento del Eat Art y su eco en España: Daniel Spoerri y Antoni Miralda 304 3.2.5.1. Daniel Spoerri y el Eat Art 305 3.2.5.2. Antoni Miralda 317 3.2.6. Arte y cocina en los años setenta 341 3.3. La mujer en la cocina 346 3.3.1. El espacio doméstico y la cocina como relato de la condición femenina 347 3.3.2. ¿Por qué no hay grandes mujeres cocineras? Las artistas cocineras 369 CONCLUSIONES 395 ANEXOS 413 BIBLIOGRAFÍA 429 8 9 10 INTRODUCCIÓN Comer, alimentarse, suponen una actividad primaria para los seres humanos. La necesaria ingesta de nutrientes ha sido una de las necesidades básicas de la especie humana, basada en la búsqueda y preparación de los alimentos para ser consumidos. La comida y lo alimentario suponen por tanto un objetivo vital que, junto a la muerte o la reproducción aparece de un modo u otro presente en todos los aspectos de la vida diaria, desde el lenguaje hasta su representación en el arte. Es aquí, en este punto, donde se centra la presente investigación. Cuando pensamos en la representación de alimentos, la idea que primero vendrá a nuestra mente será el bodegón. La representación de la comida no ha cesado durante toda la historia del arte pero será en el arte del siglo XX, con las vanguardias, cuando tome una nueva significación, reflejo del contexto reinante. Es interesante destacar cómo, siendo la comida en el arte una constante, no hay grandes estudios dedicados al asunto sino que es abordado de forma circunstancial, hecho que ha motivado este primer acercamiento a la cuestión. En 2012, dentro del Máster de Desarrollos Sociales de la Cultura Artística y con motivo de la realización del Trabajo final, la posibilidad de investigar las relaciones de la comida en el arte del siglo XX suponía un posible campo de investigación por explorar. Titulada “Arte comestible, Eat art. Planteamientos antropológico, teórico y estético de la comida en el arte del siglo XX”, tenía como objetivo presentar y apreciar los vínculos del arte con la comida, dando buena cuenta de la inexistencia de cuestionamientos sobre el tema. La presencia de numerosos artículos que analizan los contextos en los que se inscriben era alentadora, pero la realidad al analizarlos mostraba que lo alimentario en el arte ha sido considerado una temática menor frente a otras como las temáticas históricas, consideradas de mayor calado. Por ello, 11 aunque un género como la naturaleza muerta haya sido objeto de numerosos estudios, en el siglo XX no se había prestado atención a las numerosas manifestaciones artísticas en las que el acto de comer representada, no habiendo sido abordadas con especial relevancia en el terreno de la investigación. Durante la elaboración del trabajo fin de máster, poco a poco se incorporaban al relato obras de numerosos artistas provenientes de diversos planteamientos estéticos. Pero pronto, un aspecto llamó nuestra atención: la ausencia de mujeres. A pesar de que lo alimentario esté vinculado en muchas culturas al ámbito femenino, las contadas ocasiones en las que la mujer participaba, siempre aparecía en un claro papel secundario e inferior. Así, la idea de relacionar a la mujer con las representaciones de la comida en el siglo XX suponía un posible campo de investigación aún por explorar en el mundo académico. En el arte, la mujer aparece relacionada con la comida en contadas ocasiones y siempre en un papel secundario. Esto nos llevó a plantearnos sobre cómo las mujeres artistas habían entendido la vinculación de la mujer con la comida en el arte en el siglo XX. Numerosas artistas mujeres no dudarán en utilizar la vinculación de la representación femenina y la comida para reivindicar su rol de género, evidenciando la representación a la que habían estado sometidas a lo largo de la historia del arte. Han sido muchas las artistas que, a través de su producción, han pretendido definir identidades, crearlas, utilizando como herramientas las representaciones de cuerpos femeninos que actúan como categorías sexuadas, materias carnales, elementos objetualizados. No han titubeado, por tanto, en mostrar que son creadas para el consumo visual y su claro interés por poseerlas. Nuestro objetivo fue desde entonces investigar y analizar las relaciones de la representación de la comida y en arte desde los planteamientos de género. Para ello, en primer lugar, era inicial comenzar la investigación estableciendo el estado de la cuestión sobre el tema. La comida y todo lo relacionado con la alimentación es un tema que ha despertado especial interés en la última década, tal y como lo atestiguan el incremento de publicaciones y programas de televisión sobre la comida. En el panorama 12 artístico, este interés se ha reflejado en numerosos estudios, publicaciones, exposiciones e iniciativas artísticas como visitas temáticas a museos con recorridos sobre la comida en el arte. Una de las primeras experiencias fue la exposición Comer o no comer que tuvo lugar en el Centro de Arte de Salamanca en 2002, y que aglutinó diversas miradas sobre la presencia de la comida en el arte. La exposición no solo se fijaba en las artes plásticas, sino que abría el campo a otras disciplinas como el cine, el videoarte, el arte relacional, el ámbito nutricional o filosófico.
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