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Catalogo.Pdf LOS MILAGROS DE LA VOLUNTAD Y SU FUERZA PLASTICA MIRACLES OF THE WILL AND THEIR ARTISTIC FORCE JULIA MONTILLA Este libro se edita con motivo de la exposición de Julia Montilla realizada por el Centro de Fotografía de la Universidad de Salamanca. Sala Patio de las Escuelas. Del 30 de Abril al 28 de Junio de 2009 Este libro se edita con motivo de la exposición de Julia Montilla realizada by the Universidad de Salamanca Photography Centre. Sala Patio de las Escuelas, from April 30th to June 28th, 2009 5 JULIA MONTILLA Esta publicación reúne tres grupos de trabajos, alguno de ellos todavía en This publication brings together three groups of works, some still in proc- proceso de creación, cuyo vínculo consiste en una aproximación analítica ess of creation. The link between them is an analytical approach to the a lo icónico, un aspecto que posibilita la reflexión en torno a la finalidad iconic, an aspect that enables a reflection about the purpose of stories de los relatos circunscritos a ciertos géneros. De un modo más específico circumscribed to certain genres. More specifically, the nexus between the puede concretarse el nexo de unión entre los diferentes bloques en tor- different blocks may be found around the identification of the supposedly no a la identificación de los elementos “estructurales”, supuestamente peripheral ‘structural’ elements, which describe and connote the images, periféricos, que adjetivan y connotan las imágenes, así como su importan- and their importance as supports for ideological production. As a devel- cia en tanto que soportes de producción ideológica. Como desarrollo de opment of these problems, I have tackled the recognition of new credos esta problemática he abordado el reconocimiento de nuevos credos en el within societies, a process that cannot be explained without the production seno de las sociedades, un proceso que no se explica sin la producción e of the images and symbols that make their identification possible and their inserción comunitaria de las imágenes y los símbolos que posibilitan su introduction into the community. Moreover, in the ‘visual constructions’ identificación. Por otra parte, en las “construcciones visuales” referidas referring to the beliefs a singular operation occurs; the representation func- a las creencias se produce una operación singular, la representación fun- tions as a mental idea regardless of the existence of an index. That gives ciona en tanto que idea mental e independientemente de la existencia de rise to a two-way process: the image re-presents the social idea people un índice. Esto da lugar a un proceso bidireccional: la imagen re-presenta have of it and at the same time configures its collective imaginary. In that la idea social que de ella se tiene y al mismo tiempo configura el imagi- way, we conceive certain ideas, figures or religious events through the exist- nario colectivo sobre la misma. De esta forma, concebimos ciertas ideas, ing visual representations. One aspect, amongst others, which I wanted to figuras o hechos religiosos por las representaciones visuales existentes. deal with in the projects collected in this book. Un aspecto, entre otros, del que he querido dar cuenta en los proyectos recogidos en este libro. 7 ÍNDICE INDEX 09 LOS MILAGROS DE LA VOLUNTAD Y SU FUERZA PLÁSTICA 98 «Amatxo. ¿Zer nai dezu?» (¡Madre! ¿Qué quieres?) MIRACLES OF THE WILL AND THEIR ARTISTIC FORCE 102 “Amatxo. ¿Zer nai dezu?” (Mother! What do you want?) 10 Danza Solar Aimar Arriola 11 Sun Dance 34 Réplicas 107 BIENAVENTURADOS 35 Replicas THE BLESSED 52 Sobre apariciones, revoluciones, secretos, bombas atómicas, 108 La Cruz Blanca. El Palmar de Troya naves espaciales, efectos especiales y replicantes 109 La Cruz Blanca. El Palmar de Troya 62 On apparitions, revolutions, secrets, atomic bombs, 122 Hari Krisna. Nueva Vrajamandala space ships, special effects and replicants 123 Hari Krishna. Nueva Vrajamandala Sergio Rubira 136 Entrevista 142 Interview 73 GOGO-ARIMA ERRADIKALAK (ESPÍRITUS RADICALES) Amanda Cuesta, Valentín Roma, Manuel Olveira GOGO-ARIMA ERRADIKALAK (RADICAL SPIRITS) 80 Aritza (Roble) 147 LISTADO DE OBRAS 81 Aritza (Oak) LIST OF WORKS 86 Agerraldia (Aparición) 87 Agerraldia (Apparition) 90 Grabaketa (Registro) 91 Grabaketa (Recording) 92 De apariciones marianas 96 On Marian apparitions Beatriz Herráez LOS MILAGROS DE LA VOLUNTAD Y SU FUERZA PLÁSTICA Bajo el título Los Milagros de la Voluntad y su Fuerza Plástica se muestran las series Danza Solar y Réplica producidas por el Centro de Fotografía de la Universidad de Salamanca. En ambas series, aún en proceso, se analizan las características de la advocación de Fátima, en tanto que modelo aparicionista al que recurren Iglesia y Estado tras la Guerra Civil española para consolidar y revigorizar el catolicismo. MIRACLES OF THE WILL AND THEIR ARTISTIC FORCE Miracles of the Will and their Artistic Force is the title of an exhibition of the series Sun Dance and Replica produced by the Universidad de Salamanca Photog- raphy Centre. Both series, which are still in progress, analyse the characteristics of the dedication of Fatima, as an apparitionist model used by the church and the state after the Spanish Civil War to consolidate and bring new vigour to Catholicism. 10 LOS MILAGROS DE LA VOLUNTAD Y SU FUERZA PLÁSTICA DANZA SOLAR ¿Es un milagro un efecto especial? ¿Entran los efectos especiales dentro de la tradición inaugurada por los milagros? ¿Son los milagros efectos especiales en su estructura o lo son meramente en el efecto perceptivo y psicológico que tienen en nosotros? ¿Se parecen formal y fenomenológi- camente milagro y efecto especial? El milagro, instrumento de conversión, ha sido considerado por la Iglesia como un argumento que certifica la veracidad y sobrenaturalidad de una aparición o revelación. En Cova da Iria la “danza del sol”, contemplada por 70.000 espectadores, supuso la aprobación de la advocación de Fátima. Partiendo de la descripción de José María Almeida Garret1, testigo ocu- lar del fenómeno, en esta serie se recrea el acontecimiento en tanto que relato hiperbólico de un fenómeno natural. Las fotografías resultantes Fotografía de Benoliel publicada en el periódico Ilustração Portuguesa (29/10/1917) ilustrando el artículo de Avelino de Almeida «O Milagre de Fátima» (El Milagro de se aproximan, en mayor o menor medida, y dependiendo de sus obser- Fátima), pp. 353-356. vaciones a un prodigio atmosférico. La descripción de Almeida, en tanto Photograph by Benoliel published in the newspaper Ilustração Portuguesa (29/10/1917) illustrating the article by Avelino de Almeida “O Milagre de Fátima” (The Miracle of que individual, ejemplifica la crítica al argumento del testimonio colectivo Fatima), pp. 353-356. como garantía de la autenticidad del milagro inaugurada por Thomas de Quincey2. 1. António Maria S. J. Martins: Novos documentos de Fátima (Nuevos documentos de Fátima). São Paulo: Edições Loyola, 1984. Por otro lado, al confrontar el antiguo concepto de milagro con su homó- 2. De Quincey argumentará que en este caso el testimonio no puede considerarse colectivo sino logo presente, el efecto especial, se pretende ahondar en el hecho de que individual. Los diferentes testigos tienen intereses comunes y pueden ser sospechosos de colusión por dos razones: «Primera, porque los mismos motivos que influyen en uno influyen probable- lo milagroso presupone una cierta tecnicidad, presente en tradiciones tea- mente en los demás: en tal sentido se hallan sometidos a una influencia común. Segunda, porque, trales como el deus ex máchina y las comedias de santos; y la tecnicidad, a dejando de lado los motivos, en todo caso los propios [testigos] se influyen entre sí: en tal sentido se hallan sometidos a una influencia recíproca. Es preciso razonar sobre ellos como si se tratase de su vez, depende de un cierto sistema de “creencias”, a saber, la percepción una sola persona». Thomas de Quincey: «Los milagros como objeto de testimonio», en Los últimos de los espectadores. días de Emmanuel Kant y otros escritos. Barcelona: Hyspamérica, 1987, p. 245. MIRACLES OF THE WILL AND THEIR ARTISTIC FORCE 11 SUN DANCE Is a miracle a special effect? Do special effects come within the tradition inaugurated by miracles? Are miracles special effects in their structure or merely in the perceptive and psychological effect they have on us? Are miracles and special effects formally and phenomenologically alike? The miracle, an instrument of conversion, has been regarded by the church as an argument that certifies the truthfulness and supernatural nature of an apparition or revelation. In Cova da Iria the ‘sun dance’, watched by 70,000 spectators, meant the approval of the dedication of Fatima. Starting from the description provided by José María Almeida Garret1, an eye witness to the phenomenon, this series recreates the event as a hyper- bolic account of a natural phenomenon. Depending on their observations, the photographs more or less resemble an atmospheric prodigy. Almeida’s Fotografía de Benoliel publicada en el periódico Ilustração Portuguesa (29/10/1917) description, as an individual, exemplifies the criticism levelled at the ar- ilustrando el artículo de Avelino de Almeida «O Milagre de Fátima» (El Milagro de Fátima), pp. 353-356. gument of collective testimony as a guarantee of the authenticity of the Photograph by Benoliel published in the newspaper Ilustração Portuguesa (29/10/1917) miracle put forward by Thomas de Quincey2. illustrating the article by Avelino de Almeida “O Milagre de Fátima” (The Miracle of Fatima), pp. 353-356. On the other hand, the aim of confronting the old concept of miracle with its modern equivalent, the special effect, is to delve more deeply into the 1. António Maria S. J. Martins: Novos documentos de Fátima (New documents on Fatima). São Paulo: fact that the miraculous presupposes a certain technical element, found Edições Loyola, 1984. in theatrical traditions such as the deus ex machina and the comedies of 2.
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