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4.1. El Taller Artístic

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4.1. El Taller Artístic El taller absent Tesi doctoral El taller absent. Les manifestacions del taller artístic en les obres d’art des del camp de l’absència Autor: Daniel Chust Peters Director i tutor acadèmic: Jaume Barrera Fusté Programa d’estudis de doctorat en Didàctica de l’Educació Física, les Arts Visuals, de la Música i de la Veu Departament de Didàctica de l’Expressió Musical, Plàstica i Corporal Universitat Autònoma de Barcelona (UAB) 2015 AGRAIMENTS Isabel Banal Anna Casals Antonio Cobo Albert Corbeto Nina Chust Cecilia Gassull Montse Ibáñez Anna Lopez Alex Mitrani Mar Moron Maribel Nadal Jové Katie Pain Gemma Paris Francisco Salas Rosana Wolfson A tots els alumnes de l’assignatura Investigació de tendències, Escola Massana Centre d’Art i Disseny (2011-2012) pels treballs de recerca sobre “L’espai de treball”. A tots els alumnes que varen participar al workshop L’Atelier absent a l’École Nationale Supérieure d’Art (ENSA) Limoges (2012-2013). Imatge coberta: Richard Long (1983), Brushed Path a line in Nepal. A 21 day footpath walk. Resum Abstract Des de l’any 1990 fins ara, m’he dedicat a la meva Since 1990 I have devoted myself to my professional carrera artística professional, determinada a pre- career as an artist, with the objective of exhibiting the sentar en públic la producció d’obres que repre- production of work that represents the studio where senten el taller on treballo. Paral·lelament, des I work. At the same time, for more than twelve ye- de fa més de dotze anys, he impartit classes com ars, I have worked as an art teacher. In particular, I a professor d’art i, en concret, m’he especialitzat have specialized in teaching students how to develop en ensenyar a desenvolupar projectes artístics, a artistic projects, enabling them to achieve the tech- fi que l’alumne assoleixi els recursos tècnics i con- nical and conceptual skills necessary to formalize a ceptuals necessaris per formalitzar una proposta. proposal. Tant una experiència com l’altra sempre han estat Both experiences have always been accompanied by acompanyades de la lectura d’obres i d’escrits so- the reading about works of art and writings on art. bre art. Al llarg d’aquestes lectures i interpretaci- During these readings and interpretations, I have ob- ons he observat que hi ha un grup d’obres que el served that there is a group of works in which the ar- taller artístic està representat de manera literal, tistic studio is represented in a literal way. However, però quins tipus de tallers representen?, quins són what kind of studios do these works represent? What els trets que defineix un taller artístic?, hi ha molts are the characteristics that define an artistic studio? tipus i moltes maneres de representar-los, tanma- There are many types and many ways to represent teix tots es generen en el moment que l’artista pro- them. Nevertheless, are these characteristics ge- dueix l’obra? Si és així, hi ha un vincle profund entre nerated in the moment that the artist produces the el taller artístic i la producció de l’obra, aleshores work? If this is the case, the artist’s studio and the pot ser que en totes les obres hi ha alguna referèn- production of the work are closely bound together. cia al taller artístic, per mínima que sigui, però que Could it not follow, therefore, that in all works there no es manifesta en els primers nivells d’interpre- is some reference to the artistic studio, minimal as it tació? may be, which is not manifest in the initial stages of interpretation? Les dues experiències professionals han anat de- finint un interès per un tema cabdal que ara s’ha Over time both professional experiences have come convertit en tesi: el taller artístic representat en to define an interest in one principal theme, which les obres d’art. Per tant, aquesta tesi doctoral s’ha has become my thesis; the representation of the ar- desenvolupat des de la meva experiència vivencial tistic studio in works of art. As a result, this doctoral dedicada a la producció artística i docent de l’art. thesis has developed from both my experience as an artist and as a teacher. Per abordar la problemàtica de les representacions del taller artístic i de les seves interpretacions en To address the problem of the artistic studio’s repre- les obres d’art, he recorregut a mètodes específics sentation and its interpretation in works of art, I have propis de les ciències socials i de les humanitats, drawn on specific methods from the fields of social per tant, la recerca està emmarcada des d’un pro- sciences and humanities. The study is therefore fra- cés d’investigació qualitativa. med within a process of qualitative research. Durant el procés d’investigació s’ha anat fixant During the research process, the following hypot- progressivament la hipòtesi següent: en tota obra hesis has progressively become the focus: In every d’art hi ha alguna referència al taller artístic, i es work of art, there is some reference to the artistic manifesta des del “camp de la presència” o des studio, and it manifests itself in the “field of presen- del “camp de l’absència”. ce” or in the “field of absence”. 5 Amb la intenció de demostrar i verificar la hipòtesi, In order to demonstrate and verify the hypothesis he hagut d’aclarir algunes terminologies fixades en with regard to two objectives of a technical character dos objectius de caràcter teòric i un de metodolò- and one of methodology, I have had to clarify some gic: definir el taller artístic; explicar el concepte de fixed terminology. It has been necessary to define the la manifestació en el context propi d’aquesta recer- artistic studio, explain the concept of the manifesta- ca, concretament el concepte de la manifestació tion in the context of this research, in particular, the del taller artístic en l’obra d’art des del “camp de concept of the artistic studio’s manifestation in the la presència” i des del “camp de l’absència”; i per work of art in the “field of presence” and “the field of últim, el que pertany a la metodologia, he dissenyat absence”. Finally, regarding the methodology, I have un model d’instrument d’anàlisi per interpretar designed a model analysis tool to interpret some unes obres d’art, per mostrar si es manifesta o no works of art in order to show the manifestation or el referent taller artístic. absence of the artistic studio in question. Per complir els dos objectius de caràcter teòric, he In order to meet the two objectives of a theoretical aplicat una epistemologia del text, entenent l’obra character, I have applied an epistemology of the text, d’art com un text (Beuchot, 2002, p. 36) interpretat understanding the work of art as a text (Beuchot, sempre des de la temporalitat de l’intèrpret1, i ho he 2002, p. 36), always interpreted from the tempora- argumentat des de les tres perspectives teòriques lity of the interpreter1. I have defended it from the següents que es complementen: per una banda, la following three complementary theoretical perspec- semiologia de Ferdinand de Saussure i dels seus tives. On the one hand, from Ferdinand de Saussure’s seguidors de l’Escola de Praga, d’Umberto Eco i del semiology and that of his followers from the Prague postestructuralisme de Roland Barthes; per una School, and from Umberto Eco and the post-struc- altra banda, l’hermenèutica des del pensament de turalist perspective of Roland Barthes. On the other Hans-Georg Gadamer; i per últim, la fenomenolo- hand, from the hermeneutics of Hans-Georg Gada- gia transcendental d’Edmund Husserl. mer, and finally Edmund Husserl’s transcendental phenomenology. La tesi doctoral finalitza amb l’aplicació d’una “fit- xa pràctica” del model d’instrument d’anàlisi per The thesis concludes with the application of a fact interpretar una selecció d’obres d’art, i demostrar sheet which shows the model analysis tool used to i verificar si es manifesta el referent taller artístic. interpret a selection of art Works, the purpose of which is to show and verify if the artistic studio in question is manifest in the work of art . 1 La teoria interpretativa de La fusión de los horizontes y su aplicación 1 The interpretative theory of The Fusion of Horizons and its de Hans-Georg Gadamer (Grondin, 2005). application by Hans-Georg Gadamer (Grondin, 2005). 6 Índex 1. Introducció .................................................................................................................................................... 9 1.1. Antecedents a la recerca..................................................................................................................... 11 1.1.1. La meva experiència com a artista ............................................................................................ 13 1.1.2. La meva experiència com a docent en l’àrea de l’art ............................................................... 35 1.1.3. La meva experiència com a lector i intèrpret d’obres d’art i de la literatura escrita per artistes i teòrics ............................................................................ 41 1.2. Punt de partida de la recerca.............................................................................................................. 43 1.2.1. Primera aproximació terminològica.......................................................................................... 45 1.2.2. L’objecte d’estudi ........................................................................................................................ 47 1.2.2.1. El meu projecte artístic ................................................................................................. 50 1.2.2.2.
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