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Tesis Doctoral Facultad de Bellas Artes Departamento de Arte y Tecnología TESIS DOCTORAL La Insostenibilidad en el arte contemporáneo: Consideraciones sobre arte, naturaleza y sociedad ante nuevos paradigmas culturales del siglo XXI (Chile y España) Alumno Álvaro Rodrigo Aroca Córdova Director Natxo Rodríguez Arkaute (cc)2017 ALVARO RODRIGO AROCA CORDOVA (cc by-nc 4.0) Año 2017 La Insostenibilidad en el arte contemporáneo: Consideraciones sobre arte, naturaleza y sociedad ante nuevos paradigmas culturales del siglo XXI (Chile y España) . Álvaro Rodrigo Aroca Córdova Título La Insostenibilidad en el arte contemporáneo: Consideraciones sobre arte, naturaleza y sociedad ante nuevos paradigmas culturales del siglo XXI (Chile y España) Institución Universidad del País Vasco/ Euskal Herriko Unibertsitatea Facultad de Bellas Artes, Departamento de Arte y Tecnología Programa Doctorado Investigación y Creación en Arte Línea de Investigación Arte y Tecnología Autor Álvaro Rodrigo Aroca Córdova Director Natxo Rodríguez Arkaute Universidad del País Vasco/ Euskal Herriko Unibertsitatea (España) Codirectora Paulina Barrenechea Vergara Universidad de Concepción (Chile) Fecha Mayo 2017 Agradecimientos Aprovecho estas líneas para agradecer a las personas e instituciones que permitieron pudiera desarrollar y finalizar esta investigación. En primer lugar, a la Universidad del País Vasco por darme la oportunidad de realizar satisfactoriamente los estudios de Máster y Doctorado. Además, agradezco me haya asignado recursos y tiempo valioso para poder alcanzar exitosamente esta meta. También reconozco al personal administrativo de esta unidad de la universidad por su constante apoyo, especialmente a María Pilar Martín. Sobre todo, quiero expresar mi profundo agradecimiento a mi director de tesis, Natxo Rodríguez, quien con su orientación y entusiasmo siempre me alentó a adentrarme en lecturas y nuevas inquietudes sobre los estudios de la investigación. Finalmente, a Paulina Barrenechea, mi codirectora en Chile, por guiarme hacia pensamientos y cuestionamientos acerca de mis más profundas raíces Latinoamericanas. Termino estas palabras mencionando a mi familia y mi pareja que, con paciencia preocupación y mucho cariño, esperaron cumpliera este proyecto. TABLA DE CONTENIDOS Página Introducción……………………………………………………………………………………….. 1 Motivaciones e interés…………………………………………………………………………… 3 Hipótesis…………………………………………………………………………………………… 7 Objetivo General y Objetivos Específicos……………………………………………………... 8 Metodología……………………………………………………………………………………….. 9 Alcance e impacto………………………………………………………………………………... 12 CAPÍTULO 1. Entre la naturaleza ancestral y moderna como representaciones de 14 un Chile 1.1 Primeras manifestaciones en la Naturaleza desde América Latina……………………. 14 1.2 Acercamientos al Arte Mapuche…………………………………………………………… 20 1.3 La Cosmovisión Mapuche y la Naturaleza………………………………………………... 22 1.4 La geografía como denominador de la chilenidad……………………………………….. 26 1.5 La Naturaleza como identidad en Chile…………………………………………………… 28 1.6 La construcción de la frontera natural……………………………………………………... 29 CAPÍTULO 2. La construcción de una Identidad bajo imaginarios comunes 36 2.1 Ciencia en Arte o Arte en Ciencia………………………………………………………….. 36 2.2 Subjetividades y objetividades entre Arte y Ciencia……………………………………... 39 2.3 La política cultural y el neoliberalismo en Chile…………………………………………... 41 2.4 El debate crítico ante el neoliberalismo…………………………………………………… 44 2.5 La felicidad que nunca llega. El mito del crecimiento económico………………………. 46 2.6 De la modernización Neoliberal de Chile a la crisis de la identidad……………………. 48 2.6.1 Aspectos del entorno…………………………………………………………..………… 48 2.6.2 Efectos psicosociales……………………………………………………….…………… 49 CAPÍTULO 3. La construcción de la idea del Paisaje 54 3.1 Del objeto artificial a su naturalización…………………………………………………….. 54 3.2 Paisaje y Territorio como Naturaleza desde el Norte a la Periferia…………………..... 56 3.3 La construcción del paisaje latín – o – americano……………………………………….. 57 3.4 Paisajes e itinerarios culturales…………………………………………………………….. 59 3.5 El paisaje en la normativa chilena…………………………………………………………. 61 3.6 El territorio social del paisaje……………………………………………………………….. 63 3.7 Introducción a los paisajes de la sostenibilidad…………………………………………... 64 3.8 Homogeneización del paisaje en Latinoamérica…………………………………………. 66 CAPÍTULO 4. Entre la sostenibilidad y la construcción de un Arte Sostenible 70 4.1 Origen del concepto de Sostenibilidad y Desarrollo Sostenible………………………… 70 4.2 Sobre el desarrollo Sostenible. Una visión desde Chile…………………………………. 80 4.3 El Arte Sostenible……………………………………………………………………………. 82 CAPÍTULO 5. Encuentros y Desencuentros con el Arte Sostenible en Chile y 101 España 5.1 Intervenciones relacionadas con el arte y la sostenibilidad……………………………... 101 5.2 Prácticas artísticas en Chile………………………………………………………………… 117 5.2.1 Ecologic Bridge for Birds………………………………………………………………… 117 5.2.2 The Tree Memorial of a Concentration Camp………………………………………… 122 5.2.3 Mano Del Desierto……………………………………………………………………….. 124 5.2.4 Intervenciones organizadas por la Fundación Mar Adentro…………………………. 127 5.2.5 Pentóptico…………………………………………………………………………………. 133 5.2.6 Werkén. Obra de Chile en la Bienal de Venecia 2017……………………………….. 137 5.2.7 Ancient Language………………………………………………………………………... 140 5.3 Intervenciones artísticas en España……………………………………………………….. 143 5.3.1 TrashLation…………….…………………………………………………………………. 143 5.3.2 Elíseos…………………………………………………………………………………….. 146 5.3.3 Joya. Arte más Ecología………………………………………………………………… 149 5.3.4 Jardines efímeros………………………………………………………………………… 153 5.4 Recorrido de las intervenciones……………………………………………………………. 156 CAPÍTULO 6. Espacios de reflexión para construir mi exomirada 160 6.1 Educación Sostenible……………………………………………………………………….. 160 6.2 Fundamentos de la Ética Ecológica……………………………………………………….. 165 6.3 Cosmovisión Mapuche ante la sociedad “Winka” (hombre blanco)……………………. 169 6.4 Miradas sobre la cultura en América Latina………………………………………………. 171 6.5 Apertura hacia las Estéticas Decoloniales………………………………………………… 173 6.6 Inicios del Pensamiento Latinoamericano……………………………………………….... 178 6.7 El Buen Vivir. Cultura y Naturaleza………………………………………………………… 180 CAPÍTULO 7. La creación artística como punto vital de reflexión. Quinchahue 187 7.1 Un redescubrir……………………………………………………………………...………… 188 7.2 Introversión del rito Latinoamericano……………………………………………………… 189 7.3 Como surgen las acciones………………………………………………………………….. 192 7.4 Contextualizando los procesos…………………………………………………………….. 193 CAPÍTULO 8. Hacia los espacios eco artísticos. Imaginarios donde conviven Arte 208 y Naturaleza 8.1 Los objetivos del “Sostenible Desarrollo” 2030…………………………………………… 208 8.2 Decrecimiento como alternativa……………………………………………………………. 213 8.3 La Transmodernidad…………………………………………...……………………………. 215 8.4 Sistemas Artísticos Eco interdependientes……………………………………………….. 222 8.5 Arte del Buen Vivir…………………………………………………………………………… 223 8.6 Arte Insostenible……………………………………………………………………………... 225 CONCLUSIONES………..………………………………………………………………………. 227 REFERENCIAS BIBLIOGRÁFICAS…………………………………………………………… 241 Libros y Revistas…………………………………………………………………………………. 242 Tesis Doctorales y otras…………………………………………………………………………. 249 Libros y Revistas online…………………………………………………………………………. 249 Congresos y Conferencias………………………………………………………………........... 253 Periódicos y Reportajes…………………………………………………………………………. 253 Páginas Web……………………………………………………………………………………… 254 Publicaciones de Gobierno e Instituciones Públicas…………………………………………. 258 Videografía………………………………………………………………………………………... 260 ANEXOS…………………………………………………………………………………….......... 261 Anexo 1. Ecoartnetwork…………………………………………………………………………. 262 Anexo 2. Web Tesis Doctoral…………………………………………………………………… 263 Anexo 3. Cuadro Matriz de necesidades y satisfactores de Manfred Max Neef………….. 264 Anexo 4. Entrevista a Rafael Sagredo Baeza, historiador. Revista Artelogie. 2012……… 266 Anexo 5. Divisiones ecológicas – culturales del Sur de Chile………………………………. 272 Resumen La presente tesis doctoral, es un punto de encuentro con los procesos teóricos y metodológicos implicados en el llamado arte sostenible, como práctica artística y los pensamientos situados de Latinoamérica. El escenario de dicha situación, es la crisis ambiental global y el modelo económico neoliberal. A través de un ejercicio comparado entre experiencias artísticas de Chile y España, así como en la realización de un proyecto artístico personal, esta investigación pone en evidencia la deficiencia y agotamiento del arte sostenible bajo el parámetro del desarrollo sostenible. Tal proceso comparativo, busca un alejamiento de la persistencia de los aspectos propios de la modernidad, en definitiva un antropocentrismo basado en el dualismo Naturaleza-sociedad. La investigación abre el debate para nuevos planteamientos artísticos, según modelos de vida de acuerdo a relaciones biocéntricas entre arte y naturaleza, y el pensamiento del “Buen Vivir” en el contexto de las estéticas decoloniales. Laburpena Doktore-tesi hau arte jasangarri bezala ezagutzen den praktika artistikoari dagozkion prozesu teoriko eta metodologikoen eta Latinoamerikako "pentsamendu kokatuen" arteko topagunea da. Egoera horren eszenatokian ingurumen-krisi globala eta eredu ekonomiko neoliberala ditugu. Ikerketa honek, Txilen eta Espainian gauzatutako zenbait esperientzia artistikoen arteko ariketa konparatzaile bat eta egitasmo artistiko pertsonal bat tarteko, agerian uzten ditu arte jasangarriaren gutxitasuna eta agorreria garapen jasangarriaren parametroen barruan. Erkaketa prozesuak modernitateak
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