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RELACIONS ENTRE FOTOGRAFIA I PINTURA. Tesi Doctoral GEMMA

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RELACIONS ENTRE FOTOGRAFIA I PINTURA. Tesi Doctoral GEMMA RELACIONS ENTRE FOTOGRAFIA I PINTURA. DOS CASOS D’ESTUDI: GERHARD RICHTER I JEFF WALL Tesi Doctoral GEMMA PARIS i ROMIA RELACIONS ENTRE FOTOGRAFIA I PINTURA. DOS CASOS D’ESTUDI: GERHARD RICHTER I JEFF WALL Tesi Doctoral de: Gemma Paris i Romia Director: Marti Peran i Rafart Tutor: Josep Montoya i Hortelano Programa de Doctorat: La Realitat Assetjada. Bienni 2000-2002 Departament de Pintura Facultat de Belles Arts Universitat de Barcelona Barcelona, 2008 Índex - Introducció .................................................................................................... 11 1. Nous paradigmes conceptuals en el context artístic postmodern ................. 21 1.1. Abolició del Real: la realitat simulada .................................................. 29 1.2. Al·legoria i apropiació d’imatges ........................................................ 61 1.3. Hibridació i contaminació de medis artístics .......................................93 2. Diàleg entre fotografia i pintura en l’obra de Gerhard Richter i Jeff Wall... 149 2.1. Arxiu d’imatges en l’obra de Gerhard Richter ................................ 155 2.1.1. Art com a simulació d’una realitat llunyana ................................................... 197 2.1.2. L’Atlas, reconstrucció fragmentària del món mitjançant imatges fotogràfiques.211 2.1.3. Contaminació de medis artístics: diàleg continu entre fotografia i pintura .... 241 2.1.4. (Re)producció pictòrica com a Readymade .................................................... 285 2.2. Jeff Wall, pintor de la vida (post)moderna ....................................... 301 2.2.1. Gestos teatrals en una realitat aparentment real ............................................. 341 2.2.2. Mis en scène d’accions en escenaris construïts ............................................... 365 2.2.3. Construcció pictòrica de les imatges ............................................................... 381 2.2.4. Fotografia cinematogràfica ............................................................................ 419 - Conclusions ................................................................................................... 453 - Annex 1: llistat d’imatges ...............................................................................461 - Bibliografia ....................................................................................................485 - Annex 2: Treball artístic de Gemma París (cd) Introducció Introducció Aquesta tesi doctoral pretén estudiar algunes de les relacions que s’han establert entre el medi fotogràfic i el medi pictòric, basant-nos en el context de l’art que sorgeix a final dels anys seixanta i principis dels setanta. Aquest període s’ha considerat clau pel trencament de les premisses defensades per l’art modern. Aquest trencament va permetre construir un espai de treball amb horitzons més amplis, gràcies a les noves possibilitats creatives, que sorgiren principalment de la hibridació dels diversos medis artístics. La tesi se centra en l’estudi de dos casos concrets: les propostes artístiques de Gerhard Richter i de Jeff Wall, les quals funcionen com a motor de l’estudi d’alguns dels canvis conceptuals que anteriorment haurem avançat. El propòsit és estudiar i reflexionar entorn les relacions que s’han establert entre la fotografia i la pintura, les quals potenciaren el naixement de propostes artístiques híbrides que basaren la seva proposta en aquest dubte en la validesa dels propis medis. En aquestes propostes es donava més importància a la idea que al llenguatge, extraient de cada un dels medis les eines més interessants per la producció personal de les imatges artístiques. Per tal de reflexionar entorn aquestes relacions, l’estudi intentarà també recollir conceptes i contrastar idees de diferents teòrics de l’art, filòsofs i artistes, per tal de plantejar possibles respostes a dubtes i qüestions que es plantegen des de la mateixa pràctica de l’art, tant des del punt de vista com a artistes que com a lectors de les obres d’art. El treball es planteja a partir dels interrogants i les reflexions que, com a espectadors, hem pogut tenir enfront de certes propostes artístiques, entre elles les de Gerhard Richter i Jeff Wall; i alhora els dubtes que com a artistes hem pogut tenir en el propi procés artístic. La investigació se situa, doncs, en un territori entre diferents àrees, intentant crear una espai d’intersecció entre un àmbit de caire més teòric i filosòfic i un altre de producció artística. Cada una de les seccions de la tesi no es pot entendre sense l’altra. La metodologia emprada se situa en una possible intersecció entre historiografia i assaig. Les estratègies de caire més historicistes han servit per la contextualització del moment en què es generen els canvis que es volen estudiar. Però el interès de la tesi no s’ha centrat en realitzar un treball d’estudi històric d’aquests períodes, sinó d’extracció de les característiques bàsiques per poder realitzar una especulació entorn aquests canvis que es generen i que donen una nova forma a la majoria d’obres artístiques del moment. L’estudi se centrarà principalment en les repercussions d’aquests nous plantejaments en l’obra de Gerhard Richter i de Jeff Wall. Malgrat que per realitzar la primera part de la tesi s’ha realitzat un estudi històric del moment en concret, s’ha volgut donar un caire més assagístic que historicista. Aquest to d’assaig es relaciona més estretament amb les teories filosòfiques que amb la línia historicista. Primerament, la investigació situa el context històric de la investigació, a finals dels anys seixanta, en un context artístic i filosòfic que resulta interessant, principalment, pel trencament que suposa respecte la majoria de les categories que havien definit el marc teòric de la Modernitat, -principalment el que s’ha conegut com modernisme tardà, centrat en les tesis de Clement Greenberg i Michael Fried-. El propòsit és estudiar el gir que s’estableix en relació als conceptes propis de la modernitat, centrant-nos en la fi de la puresa dels medis artístics, el concepte d’originalitat i autoria de les obres d’art, i la funcionalitat representativa de l’art. En aquest aspecte ens centrarem principalment al medi fotogràfic, el qual esdevenia hereu de la funció de representació “verídica” de la realitat, que fins llavors havia exercit la pintura principalment. Aquests tres pilars que sustentaren la proposta moderna foren enderrocats en els anys seixanta, moment en què varen ser substituïts per nous paradigmes conceptuals: la hibridació i contaminació entre els medis artístics, l’al·legoria com a estratègia de creació, i l’aparició del concepte del simulacre, com a model substitutori de la realitat. Essent conscients que qualsevol gir de similar magnitud sorgeix en moments de canvis polítics, socials i culturals, i que l’art en pot ser alhora l’artífex i el testimoni, l’estudi s’ha basat en la lectura i l’anàlisi de textos de diversos pensadors que han estat clau per la consolidació d’aquests nous conceptes. Principalment en els anys setanta, les reflexions entorn les noves percepcions i construccions de la realitat centraren la majoria dels textos filosòfics i sociològics del moment. Els autors post estructuralistes francesos seran la base de la nova línia de pensament que va aparèixer en aquest moment, la qual es va centrar en l’estudi i l’explicació d’aquests canvis conceptuals. Aquest serà el marc teòric que funcionarà com a base per tal de crear un territori d’ anàl. lisi de les propostes artístiques de Gerhard Richter i Jeff Wall, principalment, creant una articulació de diferents aspectes conceptuals amb les seves propostes artístiques. L’anàlisi que es realitza en aquest primer apartat es projecta en la segona part, per intentar contrastar les idees plantejades amb les obres d’art d’ambdós artistes, i algunes de les seves reflexions personals com a creadors. Cal dir que aquest estudi s’ha vist alimentat per una gran quantitat i qualitat de textos que els propis Richter i Wall han anat realitzant al llarg de la seva trajectòria artística, a tall de reflexions del propi treball artístic, o bé com a dissertacions teòriques més generals. Per aquest motiu s’agafa com a eix d’estudi les nocions de simulació, d’al·legoria i d’hibridació de medis, les quals travessen les propostes artístiques tant de Richter com de Wall, aplicant les reflexions sorgides en la primera part de l’estudi en aquests dos casos concrets. S’ha intentat que els conceptes estudiats en la primera part es relacionin amb els casos proposats en la segona part, i que la relació també s’estableixi en direcció contrària, és a dir, que l’estudi de l’obra de Richter o de Wall ens remeti a conceptes plantejats anteriorment. En aquest itinerari, la intenció és que la investigació es pugui moure en diferents direccions, i travessant diferents registres. En primer lloc, la investigació traça un mapa bastant concret de tres aspectes que prenen força en el context artístic i de pensament de finals dels anys seixanta. En aquest mapa s’han inclòs, com s’ha comentat anteriorment, informacions i reflexions de diferents artistes, filòsofs i teòrics de l’art que s’han preguntat i han donat forma als canvis tant conceptuals com formals de les propostes artístiques de la època, intentant crear una xarxa conceptual que permeti reflexionar millor davant les propostes artístiques que l’estudi aborda. Caldria dir que aquesta xarxa hauria pogut estar reforçada per altres autors o amb una selecció més àmplia de textos en referència als temes tractats, però
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