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Tesis (8.801Mb) LÍBBRIDO: ORIGEN Y DESARROLLO DEL LIBRO DE ARTISTA EN MÉXICO (1968-2020) TESIS para obtener el grado de Maestro en Estudios de Arte y Literatura Presenta Lic. Víctor Argüelles Ángeles Director de tesis Dr. Ángel Francisco Miquel Rendón Co-Director de tesis Dr. Fernando Delmar Romero Cuernavaca, Morelos, a 25 de septiembre de 2020. La Maestría en Estudios de Arte y Literatura está acreditada en el Programa Nacional de Posgrados de Calidad (PNPC) de CONACyT, a partir del 2 de octubre de 2012. ÍNDICE INTRODUCCIÓN .................................................................................................... 5 1 Desplazamiento histórico: el libro, el objeto y el libro de artista ...................... 10 1.1. Conocimiento y experiencia. El libro como fundamento ........................... 15 1.2. El libro en las vanguardias. La página del libro ........................................ 17 1.3. Marcel Duchamp y el readymade como dispositivo conceptual ............... 25 1.4. Bruno Munari. Libros ilegibles y prelibros ................................................. 34 1.5. Lucio Fontana. El concepto espacial en el libro ....................................... 40 1.6. Ligya Pape. El libro de la creación ........................................................... 44 1.7. Libro de artista a partir de Edward Ruscha y Dieter Roth ........................ 47 2 Libro de artista: la consolidación de una expresión alternativa ....................... 53 2.1. Por una definición del concepto ............................................................... 57 2.2. El libro de artista. Concepto y desarrollo .................................................. 67 2.3. Tipologías. Una organización trascendente ............................................. 71 2.4. Secuencia, texto y forma .......................................................................... 75 2.5. Visualidad / Textualidad ........................................................................... 78 2.6. La experiencia lúdica................................................................................ 92 2.7. El compuesto híbrido ................................................................................ 95 2.8. Híbridos de la expresión: Libbridos ........................................................ 101 3 Las materialidades híbridas en el libro de artista en México ......................... 104 3.1. El libro-maleta Octavio Paz / Marcel Duchamp ...................................... 116 3.2. Entrecruzamientos conceptuales: Carrión, Ehrenberg y Hellion ............ 123 3.3. Ulises Carrión y “El arte nuevo de hacer libros” ..................................... 126 3.4. Felipe Ehrenberg y el uso del mimeógrafo ............................................. 135 3.5. Práctica y divulgación. Martha Ellion ...................................................... 142 3.6. Marcos Kurtycz. Libro en acción ............................................................ 147 3.7. La colectividad como forma de resistencia. Los grupos ......................... 151 3.8. Pecanins, Rippey y Lara: tres discursos autosuficientes ........................ 162 3.8.1. YANI PECANINS ............................................................................. 165 3.8.2. CARLA RIPPEY ............................................................................... 167 3.8.3. MAGALI LARA ................................................................................. 169 3.9. Última creación en libros de artista. Reconsideración ............................ 173 CONCLUSIONES ................................................................................................ 189 REFERENCIAS ................................................................................................... 193 Apéndice 1 .......................................................................................................... 207 Apéndice 2 .......................................................................................................... 213 Apéndice 3 .......................................................................................................... 218 Láminas (I) .......................................................................................................... 219 Láminas (II) ......................................................................................................... 228 Láminas (III) ........................................................................................................ 238 Índice de láminas ................................................................................................ 254 INTRODUCCIÓN Hacia la segunda mitad del siglo XX, la producción artística se distinguió por mostrar una renovación en los lenguajes con pretensiones a la integración, y con esto a disolver las fronteras entre lo visual y lo literario. Con las nuevas tendencias en el panorama del lenguaje, las expresiones se inclinaron hacia todo tipo de experimentaciones. Pero éstas no fueron arbitrarias, se sustentaron con los cambios de paradigmas en tanto a las formas de representación artística. En este contexto, surgieron los preceptos en torno al Libro de artista; un dispositivo de creación que ha pasado por varias etapas, y hoy en día es percibido aún en desarrollo. No obstante puede apreciarse una consolidación, alcanzada en los primeros años de la década de los 60, a partir de modelos que con el tiempo serían tomados como prototipos de creación en los estudios que hoy prevalecen. Existen ya investigaciones de grado y posgrado en torno a este tema. Entre las distintas disciplinas que se han aproximado a su estudio, se encuentran: Arte, Literatura, Diseño, Comunicación y Producción editorial. En éstas se han planteado criterios que subrayan principalmente la complejidad con la que se intenta definir una forma de trabajo, que particularmente en México suscita un conflicto con el uso de terminologías. Por lo tanto es significativo revisarlas, a fin de organizar el procedimiento de una expresión y sentar las bases para su análisis. De manera que esta investigación se suma al debate y se propone abonar positivamente en la solución del problema. Por este motivo es común el término Libro-Arte, principalmente en Bibiana Crespo Martín, que siguiendo los preceptos de Clive Phillpot, establece algunos parámetros que destacan por su claridad. A pesar de que el término no se imponga como una norma, en México se emplea, así como Libro alternativo, Libro-objeto, Otro libro, etc., sumados a apelativos que precisamente son los que problematizan. Sin embargo, consideramos adecuada la denominación Libro de artista, que resuena con frecuencia en los circuitos del arte. Emplearemos este término, que responde además a la forma en la que nos hemos vinculado con esta práctica que hace eco en la producción visual y literaria especialmente en México. 5 El propósito de este trabajo es identificar los componentes históricos y estéticos del Libro de artista en general, y particularmente al que corresponde a México. De modo que, el objetivo principal es, ubicar su origen y analizar su desarrollo, así como revisar la confluencia de diversos agentes que hacen posible su existencia, en tanto a la integración de los lenguajes visuales y literarios. Los objetivos específicos que se afrontan, son: 1.- Analizar el fenómeno Libro de artista producido desde la experimentación visual, en los parámetros único/múltiple, y en los contextos internacional y nacional. 2.- Indagar en la denominación, clasificación y tipologías del Libro de artista desde la conformación técnica hasta conceptual, determinando el tiempo de su consolidación. 3.- Identificar su campo de acción en el contexto artístico de México en los años que van de 1968 a 2020. El marco teórico que se utiliza en esta tesis, se nutre de antecedentes históricos y estéticos, de autores fundamentales como Arthur C. Danto, Ana Maria Guash, George Didi-Huberman y Néstor García Canclini, que, en combinación con teorías muy específicas de Dick Higgins y Clive Phillpot, conforman las referencias que hacen de este trabajo un estudio histórico-crítico. Asimismo se revisaron tesis, artículos, documentos, testimonios, y una variedad de información que procede directamente de los artistas, por medio de la entrevista como método de trabajo que nos valió despejar las dudas, y ampliar los horizontes de la información. La estrategia que se utiliza para dar claridad al conjunto de premisas que presenta nuestro objeto de estudio, es a partir de la conceptualización del Libro de artista como un híbrido donde confluyen materialidades provenientes del arte, el diseño y la literatura. Esta relación se sostiene por los componentes que lo integran, o los diversos campos a los que se dirige como objeto artístico que satisface el consumo o coleccionismo, y circula entre espacios compartidos entre disciplinas artísticas, campos en los que se ha acomodado favorablemente. Acordado lo anterior, este trabajo lleva por título “Líbbrido: origen y desarrollo del Libro de artista en México (1968-2020)”. En éste analizo la producción que conforma el antecedente y desarrollo histórico del Libro de artista. En el título se enuncia la preocupación principal, y sintetiza la hipótesis a dilucidar: el libro de artista en México surge de tres enfoques: objeto, producción y manifiesto. Cada uno 6 simplifica la labor mostrada en los ámbitos del arte, el diseño y la literatura. Particularmente identifico un cruce de prácticas que abarcan estas tres áreas, y que se aplican constantemente, produciendo novedosas
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