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El gesto peripoético. Una propuesta conceptual basada en las prácticas situacionistas de las ciudades contemporáneas
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[spa] Con la aparición de las vanguardias históricas y la consagración en el campo artístico de las performances, de las instalaciones, y del arte conceptual, la discusión sobre el estatuto artístico de una obra es cada vez más cuestionable por una parte de la crítica, como también por la sociedad civil. Las experimentaciones dadaístas que incorporaron la visita a lugares banales de la ciudad como una forma estética en clave antiartística, abrieron un camino que décadas más tarde el movimiento situacionista recuperó con una evidente voluntad política. Sin embargo, en una economía global de mercado como la que caracteriza nuestra sociedad, las propuestas artísticas de la Internacional Situacionista encuentran en sus manifestaciones contemporáneas muchos elementos contradictorios, signados, sobre todo, por la asimilación contracultural por parte del capitalismo. El propósito de esta tesis es proponer un modelo, a la vez que una reflexión conceptual, sobre la posibilidad de llevar a cabo una experimentación artística-lúdica- política que recupere el gesto radical de la tradición situacionista en el escenario de nuestras ciudades contemporáneas. De este modo, emerge lo que he llamado el gesto peripoético (GPP). Su formulación contiene en sí misma un germen anticanonizante y supone a su vez, la posibilidad de distinguir diferentes tipos de prácticas artísticas y estimar cuáles están más en sintonía con el ideario que el programa situacionista formuló a mediados del siglo XX. La constatación de que, como señaló la IS, “no existe un gesto lo suficientemente radical”, por un lado, nos confirma el triunfo de la sociedad del espectáculo, pero por otro, nos deja pequeños umbrales heterotópicos por los que se puede seguir experimentando y expandiendo una disidente forma de habitar, encontrarse, y apropiarse del paisaje urbano.
[eng] With the appearance of the historical avant-gardes and the consecration in the artistic field of performances, installations, and conceptual art, the discussion about the artistic status of a work is increasingly questionable by a part of critics, as well as by the civil society. The Dadaist experiments that incorporated the visit to banal places in the city as an aesthetic form, opened a path that decades later the Situationist movement recovered with an evident political will. However, in a global market economy such as the one that characterizes our current society, the International Situationist’s (IS) artistic proposals find in its contemporary manifestations many contradictory elements, marked, above all, by the countercultural assimilation on the part of capitalism. The purpose of this thesis is to propose a model, as well as a conceptual reflection, on the possibility of carrying out an artistic-playful-political experimentation that recovers the radical gesture of the situationist tradition on the stage of our contemporary cities. In this way, what I have called the peripoetic gesture (PPG), emerges. Its formulation contains in itself an anti-canonizing germ and supposes, in turn, the possibility of distinguishing different types of artistic practices and evaluate which ones are more in tune with the ideology that the situationist program formulated in the middle of the 20th century. The finding that, as the IS pointed out, “there is not a sufficiently radical gesture”, on the one hand, confirms the triumph of the society of the spectacle, but on the other hand, it leaves us with small heterotopic thresholds through which it is possible to continue experimenting and expanding a dissident way of inhabiting, meeting, and appropriating the urban landscape.
[eng] With the appearance of the historical avant-gardes and the consecration in the artistic field of performances, installations, and conceptual art, the discussion about the artistic status of a work is increasingly questionable by a part of critics, as well as by the civil society. The Dadaist experiments that incorporated the visit to banal places in the city as an aesthetic form, opened a path that decades later the Situationist movement recovered with an evident political will. However, in a global market economy such as the one that characterizes our current society, the International Situationist’s (IS) artistic proposals find in its contemporary manifestations many contradictory elements, marked, above all, by the countercultural assimilation on the part of capitalism. The purpose of this thesis is to propose a model, as well as a conceptual reflection, on the possibility of carrying out an artistic-playful-political experimentation that recovers the radical gesture of the situationist tradition on the stage of our contemporary cities. In this way, what I have called the peripoetic gesture (PPG), emerges. Its formulation contains in itself an anti-canonizing germ and supposes, in turn, the possibility of distinguishing different types of artistic practices and evaluate which ones are more in tune with the ideology that the situationist program formulated in the middle of the 20th century. The finding that, as the IS pointed out, “there is not a sufficiently radical gesture”, on the one hand, confirms the triumph of the society of the spectacle, but on the other hand, it leaves us with small heterotopic thresholds through which it is possible to continue experimenting and expanding a dissident way of inhabiting, meeting, and appropriating the urban landscape.
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VALENZUELA ALFARO, Miguel ángel. El gesto peripoético. Una propuesta conceptual basada en las prácticas situacionistas de las ciudades contemporáneas. [consulta: 27 de febrer de 2026]. [Disponible a: https://hdl.handle.net/2445/174817]