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Arte Y Reproducción Hacia Una Prehistoria De La Imagen Digital

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Arte Y Reproducción Hacia Una Prehistoria De La Imagen Digital Arte y reproducción Hacia una prehistoria de la imagen digital Jordi Bielsa Mialet ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING. On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX (www.tesisenxarxa.net) service has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized neither its spreading and availability from a site foreign to the TDX service. Introducing its content in a window or frame foreign to the TDX service is not authorized (framing). This rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author. ARTE Y REPRODUCCIÓN HACIA UNA PREHISTORIA DE LA IMAGEN DIGITAL Doctorando: Jordi Bielsa Mialet Directores: Dra. Alicia Vela Cisneros y Dr. Josep Montoya Hortelano Programa de doctorado: l’art en l’era digital. Creació intermèdia. Bienio 2005-2007 Departament de Pintura de la Facultat de Belles Arts de la Universitat de Barcelona Barcelona, Noviembre, 2010 ARTE Y REPRODUCCIÓN HACIA UNA PREHISTORIA DE LA IMAGEN DIGITAL Todo depende del modelo equi- vocado. Las aberraciones de los hombres se deben a que, en un momento determinado, echan mano al azar de sus modelos, y nunca más se liberan de ellos. CANETTI Notte e giorno faticar, Per chi nulla sa gradir, Piova e il vento soportar, Mangiar male e mal dormir. Voglio far il gentiluomo E non voglio più servir E non voglio più servir. No, no, no, no, no, no, no E non voglio più servir… MOZART – DA PONTE Agradecimientos Quiero agradecer especialmente a Alicia Vela y Pep Montoya su inestimable supervisión como directores de tesis y a An- tonio Aguilera, Esperança Bielsa y Malusa Vieta su colabo- ración, sus correcciones y su apoyo incondicional. A Jordi Navarro le debo el diseño gráfico y su ayuda en la maque- tación de la tesis. Visité la exposición retrospectiva de Ho- garth con David Dabydeen, fue un privilegio para mí muy enriquecedor. La cartera Purificación Esteban y sus compa- ñeros de Correos me trajeron muchos de los impresos que aquí se reproducen. Este proyecto se inscribe en la labor que realiza el grupo de investigación I+D Prospecciones Binarias de la Facultat de Belles Arts de la Universitat de Barcelona: “Impresión Expandida: Arte e impresión, la repercusión de los medios digitales en el contexto del Arte Impreso” (HUM 2007-64757/ARTE). Esta tesis ha sido posible con el apoyo del Comissionat per a Universitats i Recerca (CUR) y del Departament d’Innovació, Universitats i Empresa (DIUE) de la Generalitat de Catalunya i del Fons Social Europeu. Así mismo me gustaría expresar mi agradecimiento al Cercle Ar- tístic Sant Lluc y a la colaboración de sus socios y modelos, permitiéndome el uso de fotografía y video en las sesiones de dibujo. Índice Introducción. 11 1 Hacia una prehistoria del impreso. 19 1.1 Eckermann y yo. 21 1.2 La estampa popular. 22 1.3 La no integración del arte en su proceso técnico. 24 1.4 Exhibition Illustrating the Technical Methods of the Reproductive Arts.25 1.5 Benjamin y las exposiciones universales. 26 1.6 How Look. 28 1.7 Le Noble Graveur. 30 2 Cabezas de Laoconte. 37 2.1 William Ivins. 39 2.2 Like a dog returns to its vomit.51 2.3 El arte como noticia. 56 3 El fotograbado desde Daumier. 65 4 La musa cómica. 85 4.1 Timoty Cole. 87 4.2 Una herida sin cuerpo. 91 4.3 Boys Peeping at Nature. 94 4.4 Analysis of Beauty. 98 4.5 Londres, Noviembre / Diciembre del 2001. 101 4.6 Fotograbado de un grabado. 104 5 Hogarth Returns. 113 5.1 El retrato oval. 115 5.2 La matriz reproducida. 122 5.3 Las falsificaciones auténticas. 124 5.4 Grabados que reproducen el grabado de Thomas Cook. 126 5.5 Grabados que reproducen el grabado de Benjamin Smith. 129 5.6 Fotografías del grabado de Benjamin Smith. 136 5.7 Solamente una de las siguientes imágenes reproduce la estampa grabada por Hogarth. 145 5.8 Orejas.5.8 165 5.9 Hogarth original. 173 5.10 Caricature on Hogarth. 175 5.11 Full leather. 181 6 Anotaciones para un manual. 199 7 Cine impreso, ficción que penetra la experiencia. 233 Prensa del s. XIX 245 Películas. 247 Bibliografía. 249 Introducción Desarrollo una investigación artística en un doble ámbito: presento los elementos para una exposi- ción y trabajo de modo discursivo. Asumo una doble problemática: por un lado eludo cualquier tipo de trabajo refractario a verbalizarse. Por el otro evito realizar una investigación que no cumpla una finalidad artística. El objeto de estudio no son los procedimientos, historias, filosofías o movimientos del arte. La tesis es la puesta en escena de un conjunto de tensiones que determinan mis intereses y problemáticas en la producción del arte. No agoto los materiales y temáticas que manejo, pero me llevan a replantear y posibilitar mi práctica artística. El formato de la tesis es ambivalente: un entre, entre algo que es arte y algo que es discursivo. Me gusta pensarla como si se tratara de un manual o de un catálogo imposible, pero, en todo caso, también me distancio de ello. No soy ni escritor ni fotó- grafo, no obstante, el texto y la fotografía me han permitido abordar esta investigación. Este proyecto se inscribe en el contexto de un arte que Nicolas Bourriaud (2007) ha definido con el término de postproducción. Por postproducción se da nombre a aquellas prácticas artísticas gene- radas a partir de la aparición de la red y que reinterpretan o se sirven de otras prácticas artísticas, productos culturales y estructuras formales elaboradas con anterioridad. Yo me apropio de repro- ducciones de obras de arte. Para mí es fundamental distinguir entre el arte y su reproducción, ya que los elementos que manejo pertenecen específicamente a la cultura de masas, copian al arte pero no lo son. Utilizo la reproducción de la obra de arte para mi trabajo artístico. Por reproducción entiendo tanto la copia de objetos como de procesos. El arte mismo reproduce o reinterpreta otras obras de arte y, sin embargo, el carácter de la repro- ducción sigue apareciendo como algo ambiguo: un mismo medio sirve para generar tanto obras artísticas como para reproducir obras de arte. No es lo mismo un arte que se sirve de remixes y que replica otras obras de arte que su reproducción anónima y aparentemente inexpresiva, en ella no hay una pretensión artística, aunque se sirva de los mismos elementos formales. Es mediante la reproducción que se accede al conocimiento y difusión masiva del arte pero se trata también de algo marginal. En la reproducción confluyen una serie de elementos expresivos que no son tenidos en cuenta y que son cruciales. Por un lado, la reproducción anónima de la obra artística aparece como algo transparente que determina nuestro modo de entender el arte. Por otro lado, los medios de reproducción condicionan nuestro modo de observar e interactuar con el mundo. Internet y los medios de producción digitales implican una transformación radical en el arte y en la vida co- tidiana. Con internet se expande la reproducción de la obra de arte. Por ejemplo, en Youtube y en Ebay se reproduce y se comercializa con arte fuera de un ámbito especializado que cada vez está adquiriendo más protagonismo. Miro la reproducción y lo cotidiano en lo artístico y su periferia. Mi área de trabajo es un tipo de imagen a caballo entre lo digital, los procedimientos autográficos y la reproducción fotomecánica. La imagen impresa es el ámbito de especialización donde materializo estas prácticas puente entre los procesos autográficos, los fotográficos y los medios digitales. Escojo la reproducción de la obra de arte como práctica intermedia entre el arte y la cotidianeidad. El objetivo de la tesis es generar un producto artístico que interrogue su propia naturaleza —tanto la de su entorno como la de su contexto mediático— y que no se mantenga al margen de la explosión de los medios digitales y de las transformaciones que estos conllevan.
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