El Caso De El Cabrito En La Gomera

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El Caso De El Cabrito En La Gomera Curso 2012/13 HUMANIDADES Y CIENCIAS SOCIALES/20 I.S.B.N.: 978-84-15939-19-1 RALPH JOSEF KISTLER La modernidad y los territorios del ocio: el caso de El Cabrito en La Gomera Director JOSÉ MARÍA DÍAZ CUYÁS SOPORTES AUDIOVISUALES E INFORMÁTICOS Serie Tesis Doctorales humanidades 20 (Ralph Josef Kistler).indd 1 26/02/2014 7:20:50 ÍNDICE INTRODUCCIÓN 1.1. Agradecimientos ...................................................................................................................... 9 1.2. La comuna de El Cabrito en el contexto de las vanguardias artísticas de los sesenta ........ 11 y su relación con el imaginario turístico de las Islas Canarias 1.3. El caso de El Cabrito: metodología y estado de la cuestión ................................................. 32 ANTECEDENTES DE LA COMUNA DE OTTO MUEHL EN OTRAS COMUNAS UTÓPICAS DE LA MODERNIDAD 2.1. Charles Fourier y los inicios de las utopías sociales en la modernidad. ............................... 45 2.2. La comunidad Oneida de John Humphrey Noyes ................................................................ 49 2.3. La comunidad utópica del Monte Verità ................................................................................ 56 LA EVOLUCIÓN ARTÍSTICA DE OTTO MUEHL HASTA 1971 3.1. Juventud, desarrollo artístico y participación en el Accionismo Vienés ................................ 63 3.2. ZOCK – Aspectos de una revolución total ............................................................................ 78 HISTORIA E IDEOLOGÍA DE LA COMUNA (1970-87) 4.1. Índice de abreviaturas ............................................................................................................ 84 4.2. Los inicios de la vida comunitaria a principios de los años setenta ...................................... 85 4.3. La sexualidad libre en la AAO: la fase de experimentación y la degradación ...................... 90 en los años ochenta 4.4. Las terapias analíticas de la comuna ..................................................................................... 99 4.4.1. Wilhelm Reich y Arthur Janov ................................................................................................ 99 4.4.2. Acción Analítica y Selbstdarstellung.................................................................................... 106 4.4.3. La parábola AA .................................................................................................................... 115 4.4. La abolición de la propiedad privada y el trabajo colectivo ................................................. 119 4.5. La propagación del modelo AA ........................................................................................... 123 4.6. El concepto de Arte en la AAO ............................................................................................ 131 4.7. Expansión de la comuna hasta 1977 .................................................................................. 137 4.8. La crisis financiera a finales de 1977 y la vuelta a la propiedad privada ............................ 147 4.9. La reinstauración de un sistema autoritario ........................................................................ 154 4.10. La vuelta a la propiedad colectiva y la prosperidad económica de los años ochenta……..157 4.11. Los hijos de la comuna y el método educativo del Friedrichshof ........................................ 161 4.12. El retorno al arte en la primera mitad de los años ochenta ................................................. 166 EL SUEÑO DEL SUR – LA COMUNA EN CANARIAS 5.1. Motivos para la adquisición de El Cabrito ............................................................................ 174 5.2. El territorio del anhelo ........................................................................................................... 176 5.2.1. La isla de La Gomera .......................................................................................................... 176 5.2.2. La finca El Cabrito ............................................................................................................... 178 5.3. El asentamiento de la comuna en El Cabrito ....................................................................... 182 5.4. Las repercusiones políticas de El Cabrito ........................................................................... 196 5.4.1. Las relaciones de la comuna con la política local ............................................................... 196 5.4.2. Las acusaciones de nazismo, especulación y corrupción................................................... 200 5.4.3. El caso de El Cabrito ante el parlamento austriaco ............................................................ 206 5.5. La Liligomera S.A. como espejo de las desavenencias de la comuna ............................... 210 5.6. El caso de El Cabrito reflejado en los medios de comunicación ......................................... 215 5.6.1. Revisión de las publicaciones más importantes sobre el caso de El Cabrito..……………..215 entre 1987 y 1990 5.6.2. Los pros y contras de El Cabrito: dos ejemplos extremos a nivel regional ......................... 218 5.6.3. La información sobre el caso de El Cabrito a nivel nacional e internacional: ..................... 225 los ejemplos de El País y Der Spiegel EL PROYECTO ARTÍSTICO DE EL CABRITO 6.1. El Atelier del Sur .................................................................................................................. 228 6.1.1. Un taller para el arte internacional en La Gomera .............................................................. 228 6.1.2. Los espacios expositivos ..................................................................................................... 231 6.1.3. Colaboradores del Atelier del Sur........................................................................................ 232 6.2. La producción de películas en El Cabrito y el Friedrichshof ............................................... 236 6.3. Las primeras actividades y su recepción en 1988 .............................................................. 240 6.3.1. La utopía artística y social del Atelier del Sur ..................................................................... 240 6.3.2. La acción del Erdbeerbild .................................................................................................... 245 6.3.3. Otros proyectos artísticos en El Cabrito .............................................................................. 252 6.4. Consolidación del Atelier del Sur y perspectivas culturales en 1989 .................................. 253 6.4.1. El proyecto “América – Europa” con motivo del Quinto Centenario .................................... 253 del Descubrimiento de América en 1992 6.4.2. La primera exposición del Atelier del Sur ............................................................................ 259 6.5. Las exposiciones de arte del Atelier del Sur entre 1990 y 1994 ........................................ 264 EL FINAL DE LA UTOPÍA 7.1. La consolidación de la jerarquía y las diferencias entre comuneros .................................... 269 7.2. La iniciación a la sexualidad de los adolescentes ................................................................ 272 7.3. El final de Otto Muehl como líder de la comuna ................................................................... 275 7.4. El final de la comuna ............................................................................................................ 283 7.5. La explotación turística de El Cabrito ................................................................................... 295 7.6. El arte y la vida de Otto Muehl después su condena .......................................................... 299 7.7. La relevancia de La Gomera en el proceso del desmoronamiento: .................................... 309 mitología del lugar y distopía del sueño turístico BIBLIOGRAFÍA 8.1. Bibliografía general ........................................................................................................... 314 8.2. Bibliografía específica sobre Otto Muehl y la comuna ...................................................... 324 8.3. Publicaciones en periódicos nacionales e internacionales ............................................... 328 8.4. Documentales, reportajes y películas ............................................................................... 331 8.5. Películas de la comuna realizadas durante 1971 - 1993 .................................................. 332 Tenías que haber estado tan sexy en La Gomera Pues ahora se te ve tan sexy Sí, contigo cada día es una increíble nueva aventura Sí, contigo todos los sitios son hermosos Allí donde estás tú, está La Gomera Allí donde estás tú, brilla el sol Allí donde estás tú, es cálida la arena1 1BAUER, Otmar: 1968, autobiographische Notizen, 2004, Maria Enzersdorf: Edition Roesner, 2004. p.154. El coro de bienvenida canta en el Friedrichshof celebrando la vuelta de Muehl de El Cabrito: “you must have been so segsi in gomera/ because you look so segsi now/ ja, mit dir ist jeder tag ein herrlich neues abenteuer/ ja mit dir ist´s schön in jedem land/ wo du bist, da ist gomera/ wo du bist, da scheint die sonne/ wo du bist, ist heißer sand.“ 8 1. Introducción 1.1. Agradecimientos Este trabajo ha sido posible gracias a la colaboración y el apoyo de muchas instituciones y personas. Por lo que respecta a la comuna de Muehl debo agradecer la ayuda y buena predisposición de los directores del Friedrichshof
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