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Costura: De La Reivindicación Política a La Recreación Poética

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Costura: De La Reivindicación Política a La Recreación Poética COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Universidad de Vigo, 2015 COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Universidad de Vigo, 2015 COSTURA: DE LA REIVINDICACIÓN POLÍTICA A LA RECREACIÓN POÉTICA. EL PROCEDIMIENTO DE LA COSTURA COMO RECURSO CREATIVO EN LA OBRA DE ARTE. TESIS DOCTORAL MARÍA MAGÁN LAMPÓN Directora: Dª Consuelo Matesanz Pérez Departamento de Pintura, Facultad de Bellas Artes Universidad de Vigo Pontevedra, Mayo, 2015 María Magán Lampón Imágenes: sus respectivos autores Licencias: El contenido de este trabajo está sujeto a una licencia “Creative Commons 3.0”. Se puede reproducir, distribuir, comunicar y transformar los contenidos incluidos en este documento y en el CD-ROM adjunto, si se reconoce su autoría y se realiza sin ánimo de lucro. El copyright de las imágenes de las obras corresponde a sus respectivos autores. Impresión y Encuadernación Códice Pontevedra, 2015 Agradecimientos Es complicado entender la importancia de los agradecimientos de una tesis doctoral hasta que no se ha terminado; es entonces cuando miras atrás y te das cuenta de la ayuda y apoyo que has recibido. Intentaré resumir en unas líneas la gratitud que siento a todas las personas que han estado presentes durante esta etapa. Mi más cálido agradecimiento a Chelo Matesanz, directora de la tesis y ahora amiga, con quien he recorrido un largo camino desde el momento en que planteamos el tema de la investigación. Gracias por tu paciencia y tus valiosas orientaciones, sin ti no sería lo mismo. Infinitas gracias a mi madre y a mi padre, por confiar en mí y apoyarme siempre. Por darme las herramientas y facilidades hasta llegar aquí. Gracias por vuestro empuje. A mis amig@s y compañer@s, que os habéis adaptado a mis ritmos, a mis ausencias y que siempre habéis tenido unas palabras de ánimo. Pero sobre todo a Alberto Valverde, por su ayuda inestimable. Me gustaría mencionar también a los profesionales que me he encontrado por el camino y que me han facilitado el trabajo: libreros, personal de la biblioteca de la facultad de Bellas Artes, de la biblioteca del Museo del traje, del Reina Sofía… pero sobre todo a los artistas, que cuando lo he necesitado me habéis ayudado a comprender vuestro propio trabajo. Y a Vicente. Por todo. Por tu complicidad y paciencia cuando mis tiempos imposibles no eran compatibles con lo demás. Gracias por hacerlo todo más fácil. Autorizaciones La Dra Consuelo Matesanz Pérez, en calidad de directora de la tesis “Costura: de la reivindicación política a la recreación poética. El procedimiento de la costura como recurso creativo en la obra de arte” autoriza a María Magán Lampón la presentación de la misma. Por tanto, se deduce que se encuentra en condiciones para ser entregada para su defensa. En Pontevedra, Mayo del 2015 0.ÍNDICE Índice 1. Introducción.................................................................................................... 14 1.1. Sobre las motivaciones y el título .................................................................... 17 1.2. Objetivos del trabajo .................................................................................... 21 1.3. Metodología............................................................................................... 23 1.4. Estructura de la tesis. Sobre los contenidos.......................................................... 25 2. Oficio y significado simbólico de la costura ................................................... 28 2.1. Delimitación de conceptos............................................................................. 31 2.1.1. Metalenguaje del procedimiento................................................................... 35 2.1.2. Las técnicas y sus posibilidades pictóricas......................................................... 41 2.2. Una mirada antropológica a la costura............................................................... 45 2.2.1. El bordado en un enfoque mágico-religioso....................................................... 47 2.2.1.1. La función del bordado: del cuerpo al traje............................................... 51 2.2.1.2. Motivos de culto en el bordado............................................................. 55 2.2.1.3. Simbología y mitología del procedimiento................................................ 59 2.2.2. El procedimiento y las jerarquías sociales......................................................... 67 2.2.3. La costura en la construcción del género.......................................................... 71 2.2.3.1. La confección del ajuar doméstico.......................................................... 77 2.3. El tapiz como configurador de espacios .............................................................. 81 2.4. Profesionalización de la costura......................................................................... 87 2.4.1. El procedimiento en el taller......................................................................... 89 2.4.2. El oficio de la costura ................................................................................. 95 2.4.2.1. El papel de la mujer en la industria textil ................................................. 99 2.4.2.2. La industrialización de los talleres textiles................................................. 101 2.4.3. La Bauhaus: Arte y funcionalidad. La escuela de diseño......................................... 103 2.4.3.1. El taller textil .................................................................................. 107 2.4.4. La moda como comunicador social ................................................................. 111 2.4.5. Incursiones en el arte de vanguardia................................................................ 115 2.4.5.1. El simultaneismo de Sonia Delaunay........................................................ 117 2.4.5.2. Proyectos futuristas............................................................................ 119 2.4.5.3. El Surrealismo y la Moda..................................................................... 123 0. Índice 3. El procedimiento de la costura en el arte contemporáneo .............................. 127 3.1. High & Low: imperativos de conveniencia revisados en una exposición......................... 131 3.1.1. La huella del artista y el aura en la obra de arte................................................... 135 3.1.2. Arte y Artesanía ....................................................................................... 141 3.1.2.1. Géneros mayores o menores. Jerarquías y categorías impuestas....................... 147 3.1.3. Low &High?............................................................................................ 151 3.2. Lo cotidiano como tema para el arte................................................................. 159 3.2.1. La Introducción de realidades fragmentadas en el espacio simbólico.......................... 165 3.2.2. El kitsch................................................................................................. 173 3.2.3. La poética del procedimiento ....................................................................... 177 3.3. El quehacer artístico como reivindicación política (o) el procedimiento y los contenidos ........................................................................................... 181 3.3.1. El artista frente a la política .......................................................................... 183 3.3.1.1. El compromiso y las representaciones del poder. Arte protesta y activismo político ........................................................... 189 3.3.1.2. Las cuestiones de género en la producción artística. Las corrientes deconstructivas del feminismo ............................................ 199 3.3.2. Algunas aproximaciones a lo político desde el procedimiento de la costura ............................................................................................ 207 3.3.2.1. La exposición de la puntada subversiva ................................................... 215 3.3.2.2. ¿Feminización de la cultura? ................................................................ 221 3.3.2.3. Bordado y ornamento ........................................................................ 227 4. Los géneros artísticos a través del procedimiento de la costura ................. 230 4.1. Dibujo y costura. El recorrido del hilo sustituye la línea de dibujo………................... 235 4.1.1. Técnicas gráficas y costura. El papel como soporte…………………..................... 243 4.1.2. Zurcidos y remiendos como recorridos de reciclaje………………....................... 247 4.2. La costura se integra en la pintura…………………………………………………... 251 4.2.1. Simulaciones del metalenguaje pictórico………………………………................. 255 4.2.1.1. Pictoricismo de la costura .................................................................. 261 4.2.2. Aportaciones de la costura en el terreno pictórico y viceversa ............................... 265 4.2.3. La imagen penetra en el tejido, construyéndola………….................................... 271 Índice 4.3. Tematizar la costura como procedimiento………………...................................... 275 4.3.1. Metáforas del procedimiento……………………………................................
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