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Experimentar El Material: Elementos Y Procedimientos Experiencia Creativa Del Arte Povera Como Propuesta Didáctica

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Experimentar El Material: Elementos Y Procedimientos Experiencia Creativa Del Arte Povera Como Propuesta Didáctica UNIVERSITAT POLITÈCNICA DE VALÈNCIA FACULTAT DE BELLES ARTS DE SANT CARLES DEPARTAMENT D’ESCULTURA DOCTORADO EN: ARTE, PRODUCCIÓN E INVESTIGACIÓN Experimentar el material: elementos y procedimientos Experiencia creativa del Arte Povera como propuesta didáctica Tesis doctoral presentada por: María del Pilar García-Huidobro Tagle Directora: Dra. Sara Vilar García Codirectora: Dra. María Angélica Oliva Ureta Valencia, septiembre 2017 Experimentar el material: elementos y procedimientos Experiencia creativa del Arte Povera como propuesta didáctica Tesis doctoral presentada por: María del Pilar García-Huidobro Tagle Directora: Dra. Sara Vilar García Codirectora: Dra. María Angélica Oliva Ureta “¿Qué somos, qué es cada uno de nosotros sino una combinatoria de experiencias, de informaciones, de lecturas, de imaginaciones? Cada vida es una enciclopedia, una biblioteca, un muestrario de estilos donde todo se puede mezclar continuamente y reordenar de todas las formas posibles.” Italo Calvino, 1981 Resumen En la presente investigación se analizan las experiencias creativas del Arte Povera como claves para experimentación del material, sus elementos y procedimientos. Su reflexión y estudio permiten diseñar una propuesta didáctica dirigida a la formación de artistas en la educación superior de Bellas Artes. Se realizan diversas prácticas de creación y producción, fundadas en los procesos creativos del Arte Povera, desarrollando cuatro casos de estudio para la construcción de material didáctico. La propuesta didáctica se enlaza al pensamiento de John Dewey, Edgar Morin, Paulo Freire y María Angélica Oliva resignificando el gesto educativo y su espacio democrático con propuestas y dispositivos críticos que surgen de los contextos socio, político y culturales que afectan las formas de pensar y producir conocimiento en la educación contemporánea. Se ha desarrollado un camino metodológico con las técnicas: análisis documental, observación cualitativa y técnica de irradiación creativa, el valor de las prácticas revela el desarrollo y búsqueda de conocimientos por medio de la experiencia y observación directa, pertinentes con los propósitos del objeto de estudio. Los resultados son producto de la experiencia adquirida en las prácticas, cristalizándose en un material didáctico para incluir en asignaturas de línea de creación y producción, para artistas en formación. Palabras claves Arte Povera, materiales, procedimientos, propuesta didáctica, material didáctico para bellas artes 5 Resum En la present recerca s’analitzen les experiències creatives de l’Art Povera com a claus per a l’experimentar el material, els seus elements i procediments. La seua reflexió i estudi permeten dissenyar una proposta didàctica dirigida a la formació d’artistes en l’educació superior de Belles Arts. Es realitzen diverses pràctiques de creació i producció, fundades en els processos creatius de l’Art Povera, desenvolupant quatre casos d’estudi per a la construcció de material didàctic. La proposta didàctica s’enllaça al pensament de John Dewey, Edgar Morin, Paulo Freire i María Angélica Oliva resignificant el gest educatiu i el seu espai democràtic amb propostes i dispositius crítics que sorgeixen dels contextos soci, polític i culturals que afecten les formes de pensar i produir coneixement en l’educació contemporània. S’ha desenvolupat un camí metodològic amb les tècniques: anàlisi documental, observació qualitativa i tècnica d’irradiació creativa, el valor de les pràctiques, revela el desenvolupament i cerca de coneixements per mitjà de l’experiència i observació directa, pertinents amb els propòsits de l’objecte d’estudi. Els resultats són producte de l’experiència adquirida en les pràctiques, cristal·litzant-se en un material didàctic per a incloure en assignatures de línia de creació i producció, per a artistes en formació. Paraules Claus Art Povera, materials, procediments, proposta didàctica, material didàctic per a belles arts 6 Summary In the present research, creative experiences of the Arte Povera (literally Poor Art) are analysed as keys to experiment the material, its elements and its procedures. Their reflection and study allow us to design a didactic proposal aimed to train artists in the higher education of Fine Arts. Different creation and production practices are carried out, based in the creative processes of Arte Povera, developing four cases of study for the elaboration of didactic material. The didactic proposal is linked to the thinking of John Dewey, Edgar Morin, Paulo Freire and Maria Angélica Oliva, re-framing the educational gesture and its democratic space with proposals and critical devices that arise from both socio-political and cultural contexts that affect to the way of thinking and knowledge production in the contemporary education. A methodological path has been developed with different techniques: documentary analysis, qualitative observation and creative irradiation technique; the value of the practices, reveals the development and research of knowledge through the direct observation, relevant to the purposes of the object of study. The results are the product of the experience acquired in the practices, crystallizing in a didactic material to include in subjects in the frame of creation and production, for artists in formation. Key Words Art Povera, materials, procedures, didactic proposal, didactic materials for Fine Arts. 7 A mi madre, Mónica Tagle ÍNDICE RESUMEN / RESUM / SUMMARY 5 INTRODUCCIÓN 13 PARTE I MATERIA DE LOS MATERIALES: ARTE POVERA, EXPERIMENTACIÓN DE 17 LOS PROCESOS VITALES CAPITULO 1 EL ARTE POVERA COMO OBJETO DE ESTUDIO 18 1. Texto y contexto del problema 18 2. Metodología 20 3. Relevancia de la investigación 26 CAPITULO 2 RAZONES PARA UN ARTE POVERA: RAÍCES CREATIVAS EN LOS PROCESOS VITALES 27 DE LA COTIDIANIDAD, LA PERCEPCIÓN DEL INDIVIDUO Y SU ENTORNO 1. Exploración del vínculo arte y vida: la presencia de lo cotidiano, esencias de una realidad 28 1.1 Versatilidad en el tratamiento de los materiales: vitalidad de sus elementos 35 1.2 Creación de vínculos experimentales: interacción de prácticas artísticas, reflejo 44 de la percepción de la cotidianidad y la transformación del material 2. Italia de los `60 / `70, cambio e independencia creativa, la presencia del Arte Povera 50 en la reconstrucción de procesos vitales 2.1 Retorno a la trama esencial: identidad y experiencias de las primeras expresiones 60 de la modernidad italiana 2.2 Materiales, elementos y objetos. Miradas diversificadas, prácticas paralelas al Povera 67 CAPITULO 3 EXPERIENCIA Y PROCESOS, MATERIALES Y ELEMENTOS DEL ARTE POVERA 80 1. Explorar las relaciones con las materias primas, descubrir el entorno material 81 2. Desarrollo de la experimentación Povera: procesos y tratamientos 88 3. El gesto de la manualidad, búsqueda de formas y contextos 96 4. Prácticas en el espacio artístico, la realidad del individuo y sus materiales 107 5. Intervenir la realidad del material: experiencia estética Povera 116 6. Construyendo la voz del material 126 PARTE II PROPUESTA DE MATERIAL DIDÁCTICO EN LA LÍNEA EXPERIMENTAL 133 DEL ARTE POVERA CAPITULO 1 REFERENTES EDUCATIVOS Y ARÍSTICOS PARA LA PROPUESTA DIDÁCTICA DEL ARTE 134 POVERA 1. Experiencia creativa del Arte Povera 136 2. John Dewey: desarrollo del ambiente, vida del conocimiento 139 3. Edgar Morin: trama, contextos y vínculos del pensamiento 148 4. Paulo Freire: intervenir y transformar el texto de la realidad 158 5. María Angélica Oliva: Política de la Reparación 166 6. Perspectiva didáctica para la experiencia del Arte Povera 182 CAPITULO 2 TRANSPOSICIÓN DIDÁCTICA: EXPERIMENTACIÓN Y MATERIALES DEL ARTE 191 POVERA 1. Desarrollo de casos, realización de prácticas y talleres 193 2. Primer caso: “Cuadro de Crías” y “Natura Naturans” 200 3. Segundo caso: “Tessuto Metallico” 239 4. Tercer caso: “Materia prima: la educación comienza por casa” 269 5. Cuarto caso: Taller procedimientos y tratamientos con cera de abeja 301 CONCLUSIONES / APERTURAS 327 FUENTES DE INFORMACIÓN 331 INTRODUCCIÓN La presente investigación, está enfocada en los procesos creativos del Arte Povera, en la experimentación del material, sus elementos y procedimientos, a través de la recuperación de signos vitales. Los artífices del Povera construyeron una reflexiva y crítica observación artística del estadio de la condición humana, inspirada en los materiales y elementos que constituyen las diversas realidades de la cotidianidad, complementando esta reflexión con la incorporación de distintos procedimientos en el tratamiento de los materiales y elementos del día a día. Las experiencias fundantes en el Arte Povera, inspiran a diseñar una propuesta didáctica profundizando en el estudio y observación de materiales y elementos, a través de la experimentación, procedimientos y tratamientos de su fisicidad y contextos en los cuales participan, con el propósito de construir material didáctico dirigido a la educación superior en Bellas Artes. En la actual enseñanza superior en Bellas Artes, se orienta la atención y reflexión en el enfoque que se le da a la experiencia que se desarrolla con el espíritu de la experimentación como base de toda exploración y aprendizaje. Sus puntos de inflexión en los materiales, en el individuo y la cotidianidad, motivan a construir claves en el trabajo de la experimentación contemporánea, transformándose en un proceso de búsqueda de los orígenes para recuperar el pulso original de los materiales y del individuo, revitalizando el contexto crítico artístico-social- estético. El contexto educativo revela la necesidad
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