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Los Ready-Made Pertenecen a Todos®: Lo Paracuratorial a Través De Otras Voces

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Los Ready-Made Pertenecen a Todos®: Lo Paracuratorial a Través De Otras Voces UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES TESIS DOCTORAL Los ready-made pertenecen a todos®: lo paracuratorial a través de otras voces MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Tiago de Abreu Pinto Director José María Parreño Velasco Madrid, 2018 © Tiago de Abreu Pinto, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE BELLAS ARTES Doctorado en Bellas Artes los ready-made pertenecen a todos® : LO PARA- CURATORIAL A TRAVÉS DE OTRAS VOCES MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Tiago de Abreu Pinto Bajo la dirección del Doctor José María Parreño Velasco MADRID, 2017 Bajamos hacia Hudimesnil, de repente me invadió esa profunda sensación de dicha que no había tenido desde los días de Combray; una dicha análoga a la que me infundieron, entre otras cosas, los campanarios de Martinville. Pero esta vez esa sensación quedó incompleta. Acababa de ver a un lado del camino en la escarpa por donde íbamos tres árboles que debían de servir de entrada a un paseo cubierto; no era la primera vez que veía yo aquel dibujo que formaban los tres árboles, y aunque no pude encontrar en mi memoria el lugar de donde parecían haberse escapado, sin embargo, me di cuenta de que me había sido muy familiar en tiempos pasados; de suerte que como mi espíritu titubeó entre un año muy lejano y el momento presente, los alrededores de Balbec vacilaron también, y me entraron dudas de si aquel paseo no era una ficción, Balbec un sitio donde nunca estuve sino en imaginación, la señora de Villeparisis un personaje de novela, y los tres árboles añosos, la realidad esa con que se encuentra uno al alzar la vista del libro que se estaba leyendo y que nos describía un ambiente en el cual se nos figuró que nos hallábamos de verdad. (Marcel Proust, En Busca del tiempo perdido. A la sombra de las muchachas en flor) El humilde abad Pafnucio ha firmado de su puño y letra. (Fiódor Dostoyevski, El Idiota) AGRADECIMIENTOS José María Parreño Velasco Cláudia Malheiros Munhoz Climério, Nubia y Lucas Daniel Bosser Claire Burrus Concha Calvo Salanova Émeline Jaret Daniel Soutif Ignacio Garcia Pegado Jan Mot Martine Péan Maria Ona Maureen Malheiros Munhoz Oscar Garcia Hernandez Paul Bernard Stephan Tanbin Sastrawidjaja ÍNDICE RESUMEN .......................................................................................................................................................... 1 ABSTRACT ........................................................................................................................................................ 3 1. INTRODUCCIÓN ......................................................................................................................................... 5 2. EL LENGUAJE DEL READY-MADE ...................................................................................................... 11 3. EL GERMEN FILOSÓFICO Y LITERARIO ......................................................................................... 23 4. COLECCIONISMO Y COMERCIO DE ARTE ...................................................................................... 37 5. PUBLICIDAD Y RELACIONES PÚBLICAS ........................................................................................ 47 6. EL ARTISTA EMPRENDEDOR ............................................................................................................. 57 7. DEL LADO DEL COMISARIADO .......................................................................................................... 67 8. EL ARTISTA COMISARIO ...................................................................................................................... 79 9. los ready-made pertenecen a todos® ..................................................................................... 89 10. DESMONTANDO los ready-made pertenecen a todos® ............................................ 173 11. CONCLUSIONES .................................................................................................................................. 185 12. REFERENCIAS BIBLIOGRÁFICAS ................................................................................................. 197 Anexo I. Obra completa Philippe Thomas ....................................................................................... 211 Anexo II. Cronología. Philippe Thomas ............................................................................................. 291 Anexo III. Bibliografía. Philippe Thomas ......................................................................................... 316 RESUMEN La agencia de relaciones públicas los ready-made pertenecen a todos® (1987-1993), abierta en la Cable Gallery en Nueva York, fue concebida para el desarrollo de proyectos que consistían en la venta de identidades artísticas por medio de la relación entre el artista Philippe Thomas y coleccionistas como Bertrand Lavier, Georges Verney-Carron, Jacques Salomon, Lidewij Edelkort, Laura Carpenter y Alain Clairet. Cualquiera que haya comprado obras de los ready-made pertenecen a todos®, ya sea un coleccionista privado o un museo público, se ha convertido automáticamente en el autor de dicha obra, formando, de esta manera, parte de la historia del arte. La investigación que nos ocupa aborda la compleja labor de la agencia de relaciones públicas los ready-made pertenecen a todos® y su utilización para actividades curatoriales y para-curatoriales a través de la heteronimia. Este proyecto trata de un artista prácticamente inédito en España: Philippe Thomas, pero más concretamente del período de funcionamiento de su agencia, entre 1987 y 1993. Lo que se desarrolla en esta tesis, además, es el estudio de otras dos tendencias del comisariado internacional igualmente novedosas en el ámbito nacional: la labor del artista comisario y el desarrollo de actividades para-curatoriales por parte del artista comisario. Para ello se centran los esfuerzos en la comprensión de la evolución de las relaciones públicas, la publicidad, el coleccionismo, el artista emprendedor y el artista comisario, así como del contexto histórico y socio-político en que aparece la agencia de relaciones públicas los ready-made pertenecen a todos®. Además, se estudian figuras que le preceden (Marcel Duchamp, Piero Manzoni, Andy Warhol, Marcel Broodthaers, Joseph Kosuth, Fernando Pessoa, Maurice Blanchot o Jean-François Lyotard) y que le han nutrido. Se desarrolla además, en cuanto a los ready-made pertenecen a todos®, un análisis pormenorizada de sus proyectos más importantes (Epreuves d’artistes y Sur un lieu commun, ambos realizados en 1988; Ready mades gehören allen: Ernst Ulrich Hertel, Sabine Schütte y Jay Chiat, Edouard Merino, Insights, desarrollados en 1989; Art & Pub - 1 art et publicité, 1890-1990 y Feux pâles puestos en marcha en 1990; Scusate, ma non abbiamo potuto aspettarvi, Ubergänge, Tyne International realizadas en 1992 y, finalmente, Backstage del 1993), hasta su clausura en la residencia de Donatella Brun y Jay Chiat en 1993. Como resultado de la investigación se observa cómo los proyectos de la agencia pusieron en práctica una topografía crítica discursiva que se realiza a través de la figura de sus clientes (los coleccionistas). Asimismo desarrolló una postura curatorial y para- curatorial de importancia práctica, ya que el carácter histórico liberal de la época, que se enlaza con la creación de la agencia, proyecta mucha de su fuerza política principalmente a través de la esfera de la publicidad y las relaciones públicas. La heteronimia thomasiana se activa en términos de personajes empeñados en sostener una atmosfera colaborativa. La agencia, ampliación del término micro-sociedad, existe por su carácter práctico, real, como empresa que potencia la colectividad, la colaboración entre al menos dos personas (la mediación de la voz) señalando el espacio que la desaparición de Thomas ha dejado vacío y acentuando lo que esta desaparición pone en evidencia. La agencia “es una ficción lógica” (SCHULTZ, 2007, p.84) de nuestra época. 2 ABSTRACT The public relations agency readymades belong to everyone® (1987-1993), inaugurated at Cable Gallery in New York, was created in order to develop projects that consisted in the selling of artistic identities trough the relationship between the artist Philippe Thomas and collectors such as Bertrand Lavier, Georges Verney-Carron, Jacques Salomon, Lidewij Edelkort, Laura Carpenter and Alain Clairet. Anyone who has bought a work from readymades belong to everyone®, be they a private collector or a public museum, was automatically converted in the author of such work, becoming, in this manner, part of Art History. The present research tackles the complex labour of the public relations agency readymades belong to everyone® and its use of curatorial and paracuratorial activities through heteronomy. This dissertation approaches a subject matter never before studied in Spain: Philippe Thomas, more precisely the working period of his agency, between 1987 and 1993. What this thesis develops, furthermore, is the study of two other tendencies of the international curating, equally new in the national field: the work of the artist curator as well as his promotion of paracuratorial activities. To this end, the endeavor is centered in the evolution of public relations, advertising, art collecting, the artist entrepreneur and the artist curator, as well as of the historic and social-politic context in which the public relations agency readymades belong to everyone® appears. Figures that precede him (Marcel Duchamp, Piero
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