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RG11 Especial Maqueta Dia-Tekhne– Diálogo a través del arte Alex Carrascosa RED GERNIKA bakeaz gernika gogoratuz Dia-Tekhne– Diálogo a través del arte La edición de este libro ha sido posible gracias a la financiación de la Dirección de Promoción de la Cultura (Artes Plásticas) de la Viceconsejería de Cultura, Juventud y Deportes del Departamento de Cultura del Gobierno Vasco, y de la Asociación de Investigación por la Paz Gernika Gogoratuz. Dia-Tekhne– Diálogo a través del arte Alex Carrascosa Colección Red Gernika Directora de la colección: María Oianguren Idigoras Ilustración de cubierta: Elkarrizketarako aulkiak · Chairs for Dialogue · Sillas para el diálogo, Alex Carrascosa (2009). Imagen digital sobre fotografías de estudio de Patricia Merino y expuesta junto al poema Haizearen koloreak (Los colores del viento), de Kirmen Uribe (2009), en la muestra internacional Dialogue among Civilisations, organizada en Durban por la organización Art For Humanity con motivo de la Copa Mundial de Fútbol Sudáfrica 2010. © Alex Carrascosa, 2010 © Bakeaz, 2010 Plaza Arriquibar, 3-1.º dcha. • 48008 Bilbao Tel.: 94 4790070 • Fax: 94 4790071 Correo electrónico: [email protected] http://www.bakeaz.org © Gernika Gogoratuz, 2010 Artekalea, 1-1.º • 48300 Gernika-Lumo Tel.: 94 6253558 • Fax: 94 6256765 Correo electrónico: [email protected] http://www.gernikagogoratuz.org ISBN: 978-84-92804-03-0 Depósito legal: BI-1880-2010 Nire gurasoei. Martxuri, Hasier eta Naiari: Maitasunaren eta koherentziaren nire eguneroko laborategi-tailerra. Haizearen koloreak Gure aitarentzat, haizeak koloreak zituen: Bazegoen haize beltza, itsasotik sartzen zen haize hotza. Eta baita haize gorria ere, lautada handietatik zetorrena, hotza bezain lehorra. Arrantzaleek haize berdea ere ezagutzen zuten, itsasoan ardiak sortarazten zituena. Eta haize errea, basamortuko haize beroa. Gaur badirudi bat bakarra dela haizea, «lurrazalarekiko higitzen den aire-masa», horixe besterik ez. Haizea da bala eta pistolaren kolpekariaren artean dagoen tartea, haizerik ilunena. Baina gu bion artean dagoena ere haizea da. Haizea da elkartzen gaituena, koloretako haizea. Kirmen Uribe (2009) Los colores del viento // Para mi padre, el viento tenía colores: / Había un viento negro, / El viento frío que entra desde el mar. / Había uno rojo, que provenía de las grandes llanuras, / Un viento frío y seco. / Los pescadores hablaban de un viento verde, / Aquel que creaba figuras de ovejas en el mar. / Y un viento quemado, el del desierto. // Hoy parece que el viento es sólo uno, / «una corriente de aire producida / naturalmente en la atmósfera». Nada más. // Hoy parece que el viento es sólo / el espacio que queda entre la bala y el cañón, el más frío y desolador. / Sin embargo, nunca olvides que lo que hay / entre los dos es también viento. / El viento es lo que nos une. Índice Prólogo. Pintando la paz William Kelly 13 Prefacio 17 Agradecimientos 19 I. Introducción al Dia-Tekhne– : Plástica Relacional y Asamblea CreActiva 23 Plástica Relacional 23 BatzArt o Asamblea CreActiva 25 II. Características del Dia-Tekhne– 27 Plástica Relacional 27 BatzArt o Asamblea CreActiva 30 III. ‘Artificación’ de la realidad y arte relacional. Antecedentes histórico-artísticos I 33 El baniano o árbol-rizoma del arte moderno 33 Ramal 1: del ensamblaje al ‘Site Specific’ 37 Ramal 2: de la pintura al ‘environment’, del ‘environment’ al happening 38 El cruce del ramal de la pintura con el ramal de la performance 42 Ramal 4: del surrealismo a la Internacional Situacionista 51 Ramal 5: del conceptual al artivismo 53 Medios de artivismo 56 Arte Relacional 74 IV. De la denuncia de la guerra al anuncio de la paz. Antecedentes histórico-artísticos II 81 Denuncia periódica de los ‘desastres de la guerra’ 81 El bombardeo de Gernika 88 Desvelamiento de las causas de la guerra 93 La guerra de Vietnam 100 Continuación cronológica e histórica 102 Crónica clandestina de los ‘desastres de la guerra’ 115 Del anuncio afectivo de la paz a su construcción efectiva 116 11 – DIA-TEKHNE V. Del realismo socialista a la realización social. Antecedentes histórico-artísticos III 125 El marxismo y las artes: el realismo socialista 125 Primera transformación del marxismo: la nueva izquierda 126 Segunda transformación: de los bloques este-oeste a los bloques norte-sur 129 Tercera transformación: la rotación de las líneas de quiebra 131 Upperground y quintacolumnismo 134 Hacia la realización social 137 VI. Ampliación del imaginario para el abordaje de conflictos 143 Del imaginario dicotómico y lineal en blanco y negro… 143 … al imaginario reticular y esférico en color 153 Mitología relacional 154 Escenarios lineal-bipolar y circular-multipolar: conflicto = ‘conflujo’ 158 VII. Activación de espacios estÉticos de confluencia y relación entre personas 161 El lugar físico 161 El lugar cultural 164 Habilitación genérica de áreas estÉticas de confluencia y relación entre diferentes personas 167 VIII. Gestión de espacios estÉticos de confluencia de personas: Plástica Relacional 171 Regla n.º 1: lenguaje abstracto y/o figurativo no referencial 173 Regla n.º 2: ciclo de colores del círculo cromático 176 Ejercicios performativos de Plástica Relacional: Mandala-Circus sobre espacio vacío y Wiphala Intercultural sobre espacio prefigurado 179 IX. Plástica Relacional sobre espacio vacío: Mandala-Circus 181 Introducción al Mandala-Circus 181 Desarrollo del Mandala-Circus: de la casa a la calle, de la calle a la plaza 182 Recursos de Dia-Tekhne– o diálogo a través del arte 193 Sistematización de impresiones y comentarios de actoras y actores 195 Textos de actoras constituidas en performers 197 X. Plástica Relacional sobre espacio prefigurado: Wiphala Intercultural 201 De la Wiphala originaria a su versión intercultural y mestizada 201 Desarrollo de la Wiphala Intercultural 205 Del conceptual a la performance y al arte público 209 XI. BatzArt o Asamblea CreActiva y activación de espacios estÉticos de democracia directa 211 Origen del BatzArt 211 Evolución del BatzArt o Asamblea CreActiva 213 Conclusión y cierre entreabierto 228 Epílogo. El camino del artivismo Iñaki Arzoz 231 Bibliografía 235 Catálogo de imágenes a color 249 12 Prólogo Pintando la paz ¡La paz: vaya imagen haría! El arte ha estado los últimos quinientos años jalonado de imágenes maravillosas que tratan de la comunidad; jalonado también de obras individuales que constituían enérgi- cas declaraciones contra la guerra y la violencia. Durante el siglo XX varios artistas, ade- más de crear sus propias obras, se reunieron en grupos y formaron movimientos e, individualmente, otras y otros artistas crearon también obras que, precedidas por Goya, han ayudado a fomentar un propósito social en el arte: Rivera en México, Kollwitz en Alemania, Counihan en mi propio país, Australia. Y conmovedoramente, la más famosa pintura de Picasso, el Guernica, retrató la atrocidad del bombardeo contra un pueblo pequeño —el lugar de donde proviene el trabajo presentado en este libro—. Este pueblo, conocido por su nombre original en euskera, Gernika, se ha convertido, coherentemente, en uno de los centros mundiales por la paz y el arte. Para mí, es de gran ayuda tener en mente este contexto mientras considero los pro- yectos de Alex Carrascosa y sus colaboradores —artistas visuales, profesionales del tea- tro, poetas, estudiantes, miembros de la comunidad y otros—. Su investigación anterior (también sobre arte y paz) lo llevó a Gernika, y puedo ates- tiguar la evolución de su trabajo en este libro desde la conmemoración del bombardeo en abril del 2001. A partir de esta fecha, Alex inicia un diálogo activo con Ricardo Abaunza (artista y director de la Kultur Etxea), Iratxe Momoitio (directora del Museo de la Paz de Gernika) y Juan Gutiérrez al principio y María Oianguren después (sucesivos directores del Centro de Investigación para la Paz Gernika Gogoratuz). Todas y todos ellos han pro- piciado una comprensión internacional de la genuina participación del arte en el diálogo hacia la paz, y el trabajo de Alex ha sido clave en este sentido. Un crítico de Melbourne escribió una vez que «el arte que retrata la violencia y la guerra es mucho más convincente que el arte que retrata la paz». Reivindiqué enton- ces lo «genuino», porque en el pasado —y hoy día en buena medida— ha habido un gran número de profesionales del mundo del arte que desestimaban obras basadas en conceptos tales como amor, justicia, paz e ideales y, en consecuencia, muchas y muchos artistas no han sido sinceros al retratar dichos temas. En cambio, el arte vinculado a palabras como violencia, guerra o conflicto, o incluso sin ideales o sin contenido percep- tible, ya fuera social, político o espiritual, ha sido a menudo expuesto y dado por bueno. 13 – DIA-TEKHNE Es como si nuestro circuito mental hubiera sido configurado para aceptar el hecho de que la violencia no sólo es inevitable sino integral, hasta el punto de remitir a ella nues- tras opciones artísticas. Desde la industria militar se dice que la paz verdadera es inalcan- zable y sumariamente se descarta de toda discusión o de ser, siquiera, considerada. Hay un continuo esfuerzo por ocultar los avances de la paz a favor del «evento principal», esto es: la guerra y el elenco de violencias generadas en el seno de sociedades agresivas. Varias citas han motivado estas reflexiones; mencionaré tres. Suele afirmarse que la paz es el estado de una sociedad cuando no está en guerra. Esta aserción debe ser cuestionada. La palabra paz no debería utilizarse en este contex- to. Por ejemplo: entre las dos guerras del Golfo, cuando los Estados Unidos, según esa creencia, estaban en paz, se cometieron cada año aproximadamente 20.000 homicidios, y hasta 1,3 millones de estadounidenses fueron encarcelados por cometer crímenes. Así y todo, sigue perpetuándose el mito una y otra vez, de país en país: «estamos en paz». Se trata de una aserción nada ingenua, sino enormemente interesada, utilizada por los gobiernos, los ejércitos y los medios de comunicación, que no permiten otra interpreta- ción en sus pronunciamientos.
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