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Sonido, Cuerpo Y Música: Ubiquitous Listening Y Espacio Autobiográfico En Piezas De Performance Y Video Arte Úrsula San Crist

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Sonido, Cuerpo Y Música: Ubiquitous Listening Y Espacio Autobiográfico En Piezas De Performance Y Video Arte Úrsula San Crist ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Facultat de Filosofia i Lletres Departament d’Art i Musicologia Sonido, cuerpo y música: Ubiquitous listening y espacio autobiográfico en piezas de performance y video arte Tesis doctoral de Úrsula San Cristóbal Directora y tutora: Silvia Martínez García Programa en Historia de la Arte y Musicología Bellaterra, Junio de 2020 1 Resumen Esta tesis se ocupa del rol de los elementos sonoros y musicales en piezas que combinan los lenguajes de la performance y del video arte, y que no son consideradas arte sonoro. Propongo las nociones de espacio autobiográfico y ubiquitous listening como instrumentos para analizar obras que abordan aspectos autobiográficos haciendo uso de elementos sonoros y visuales, aportando además una revisión crítica de la bibliografía sobre el sonido y la escucha en el arte contemporáneo. Aplico estas nociones a dos casos de estudio: 1) performances y videos de Marina Abramović realizados entre 1971 y 1997 que permiten comprender el desarrollo de la pieza Balkan Baroque (1997); y 2) las fotografías y video instalaciones de Shirin Neshat realizadas entre 1993 y 1997 que permiten comprender la pieza Turbulent (1998). A través de una revisión crítica de la bibliografía que se ha ocupado de estas piezas, pongo en evidencia las consecuencias derivadas de la falta de atención a los elementos sonoros. Palabras clave: Escucha, sonido, arte contemporáneo, espacio autobiográfico, performance art, video arte, Marina Abramović, Shirin Neshat. Title: Sound, body and music: Ubiquitous listening and autobiographical space in performance and video art. Abstract: This thesis deals with the role of sound and music in artworks merging the languages of performance art and video art, which are not considered sound art. I propose the notions of autobiographical space and ubiquitous listening as tools to analyze artworks addressing autobiographical aspects through sonic and visual elements. I apply both notions to two case studies: 1) live and video performances made by Marina Abramović between 1971 and 1997 that allow us to understand the piece Balkan Baroque (1997); and 2) photographs and video installations made by Shirin Neshat between 1993 and 1997 that allow us to understand the piece Turbulent (1998). Through a critical review of the bibliography that has dealt with these pieces, I highlight the consequences derived from the lack of attention to sonic elements. Keywords: listening, sound, contemporary art, autobiographical space, performance art, video art, Marina Abramović, Shirin Neshat. 1 Contenidos Contenidos 2 Índice de figuras 4 0. Introducción 7 0.1. Objetivos 10 0.2. Enfoque y metodología 12 0.3. Estructura del texto 14 1. Marco Teórico 16 1.1. Ubiquitous listening 16 1.2. Espacio autobiográfico 24 1.2.1. Espacio autobiográfico en la teoría del arte 30 1.2.2. Narcisismo 34 1.2.3. Memoria 38 1.2.4. Síntesis de las características del espacio autobiográfico contemporáneo 43 1.3. Performance y video arte 45 1.3.1. Video performance en directo 48 1.3.2. Video performance grabada 49 1.3.3. Espacio autobiográfico: cuerpo, intimidad, música y tecnología 52 2. Estado de la cuestión: Investigaciones sobre el sonido en el arte 70 2.1. Del catálogo a la monografía: en busca de la escucha 72 2.2. LaBelle y el problema de la estética relacional 79 2.3. Video arte: el sonido en un entramado intermedial 86 2.4. Performance 94 2 2.5. Comisariado: visiones conjuntas de sonido e imagen 95 2.6. Sound studies 98 2.7. Filosofía, sonido y escucha 100 2.7.1. La idealización del sonido 100 2.7.2. La vista y el oído: un sentido en desmedro de otro 104 3. Estudio de caso 1: Marina Abramović y los sonidos ignorados por la crítica 108 3.1. Una breve introducción al sonido en la obra de Abramović 109 3.1.1. Descubriendo el sonido: Primeras Instalaciones sonoras 112 3.1.2. Del sonido al cuerpo y a la escucha del entorno: la serie Rhythm 119 3.1.3. La voz y los límites del cuerpo: videoperformances y grabaciones sonoras 128 3.1.4. Del sonido a la ópera: la exploración de lo trágico y lo sensual 141 3.1.5. La música como concepto idealizado 148 3.2. ¿Qué cantó la performer? Balkan Baroque 155 3.2.1. Descripción general 158 3.2.2. La crítica 161 3.3. Espacio autobiográfico 169 4. Estudio de caso 2: Shirin Neshat 176 4.1. Reconectar con el pasado perdido: la serie Women of Allah 177 4.2. La transición de la fotografía al audiovisual 198 4.3. Turbulent. Descripción y análisis 204 4.3.1 Las críticas 212 4.3.1.1. El poema 212 4.3.1.2. La música 216 4.4. Espacio autobiográfico 223 5. Conclusiones 22 8 6. Referencias 2 34 3 Índice de figuras Figuras 1 y 2. Laurie Anderson. Home of the Brave (1986). Fotogramas de video. p.57. Figuras 3 y 4. Pipilotti Rist. I’m not the Girl Who Misses Much (1986). Fotogramas de video. p.61. Figura 5. Pipilotti Rist. Sip My Ocean (1996). Instalación en el Guggenheim Museum de New York. Fuente: web del Guggenheim Museum. p.64. Figura 6. Pipilotti Rist. Ever is Overall (1997) Videoinstalación (vista simulada). p.67. Figura 7. Beyoncé. Hold up (2016). Fotograma de video. p.67. Figuras 8 y 9. Izquierda: Bill Viola. Ascension (2005); Derecha: Beyoncé Hold up (2016). Fotogramas de video. p.67. Figuras 10 y 11. Izquierda: Bill Viola. The Dreamers (2013); Derecha: Beyoncé Hold Up (2016). Fotogramas de video. p.68. Figuras 12 y 13. Izquierda: Bill Viola. The Deluge (2002); Derecha: Beyoncé Hold Up (2016). Fotogramas de video. p.68. Figura 14. Abramović. Sound Enviroment White en la Lisson Gallery 2014. Fuente: web de la Lisson Gallery. p.116. Figura 15. Abramović. Rhythm 10 (1973). Documentación fotográfica. Fuente: Biesenbach et al. 2010, 61. p.119. Figura 16. Abramović. Rhythm 5 (1974). Documentación fotográfica. Fuente: web del Moderna Museet de Estocolmo. p.124. Figura 17. Abramović. Rhythm 4 (1974). Documentación fotográfica. Fuente: web de Artnet. Galería Lia Rumma. p.127. 4 Figura 18. Abramović. Art Must be Beautiful... Documentación fotográfica Art Festival Charlottensburg Copenhagen (1975). Fuente: Biesenbach et al 2010, 80-81. p.130. Figura 19. Abramović. Art Must be Beautiful… (1974). Documentación fotográfica de la grabación realizada en el SKC por Lutz Becker. Fuente: web del SKC. p.131. Figura 20. Abramović. Freeing the Voice (1976). Fotograma de video. p.135. Figura 21. Abramović. Rhythm 0 (1974). Documentación fotográfica. p.135. Figura 22. Abramović y Ulay. Bioguarde. En Audio Arts Magazine 5 n.º 3 y 4. Fuente: Tate Gallery. p.140. Figura 23. Abramović. The Biography Remix. Documentación Fotográfica. Fuente: web del Festival de Avignon. p.143. Figura 24. Abramović. Cleaning the Mirror I (1995). Videoinstalación multicanal en 5 monitores. Museo Guggenheim de New York. Fuente: guggenheim.org. p.146. Figura 25. Magritte. L’Évidence éternelle (1930). Óleo sobre 5 telas. The Menil Collection. Houston, Texas. Fuente: moma.org. p.146. Figura 26. Abramović. Goldberg. Fuente: Zavarzina y Froliak 2016. p.154. Figuras 27. Abramović. Balkan Baroque Proyecciones de video (3 canales en 1). Fuente: (LIMA 2019a). p.157. Figura 28. Abramović. Balkan Baroque en la 58º Bienal de Venecia 1997. Foto: Attilio Maranzano Fuente: royalacademy.org p.160. Figura 29. Neshat. Offered Eyes (1993). De la serie Women of Allah. Fotografía de Plauto. Fuente: (Chiu & Ho 2015, 79). p. 181. Figura 30. Neshat. I Am its Secret (1993). De la serie Women of Allah. Fotografía de Plauto. Fuente: (Chiu & Ho 2015, 77). p.181. Figura 31. Neshat. Allegiance with Wakefulness (1994). De la serie Women of Allah. Fotografía de Cynthia Preston. Fuente: (Chiu & Ho 2015, 81). p.182. Figura 32. Neshat. Rebellious Silence (1994). De la serie Women of Allah. Fotografía de Cynthia Preston. Fuente: (Chiu & Ho 2015, 87). p.182. Figura 33. Neshat. Faceless (1994). De la serie Women of Allah. Fotografía de Cynthia Preston. Fuente: artnet.com. p.183. Figura 34. Mujer armada durante las manifestaciones en contra de Iraq. Teheran, junio de 1979. © A. Abbas/Magnum Photos. La pancarta de la derecha dice: "Yesterday's friends, Today's enemies" Fuente: Magnum Photos p.185. 5 Figura 35. Mujeres armadas durante los comienzos de la Revolución. Teherán 1979. © Keystone/Getty Images. Fuente: History Collection. p.185. Figura 36. Tarjeta de Estudiante Internacional de la U. de California de Shirin Neshat (1981). Fuente: (Loos 2019). p.189. Figura 37. Retrato de Neshat. ©Fotografía de Inez & Vinoodh (Inez van Lamsweerde y Vinoodh Matadin). Fuente: (Ruiz 2018). p. 190. Figura 38. Neshat. Anchorage (1996). Vista de la instalación en el puente de Brooklyn. p.195. Figura 39. Neshat. The Shadow Under The Web (1997). Fotograma de vídeo. Fuente: artnet.com. p. 197. Figuras 40 y 41. Neshat. Turbulent (1998). Vista de la instalación. Fuente: Obra social La Caixa. p.200. Figura 42. Neshat. Turbulent (1998). Fotograma final. p.209. Figura 43. Neshat. Women Without Men (2009). Fotograma. Escena de la boda de Amir Khan. Una mujer se lleva la mano a la boca mientras ulula y baila al ritmo del Daf. p.221. 6 0.
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