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Si us plau utilitzeu sempre aquest identificador per citar o enllaçar aquest document: https://hdl.handle.net/2445/214912
Aquella, alhora una altra
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[cat] Aquest treball sorgeix de la intenció d’establir un marc dinàmic que m’ajudi a obrir i contenir la pràctica artística per tal de guanyar marge de maniobra. Aquest camp de contenció està elaborat a partir d’operacions com complicitar, complexitzar i correspondre, per tal d’evitar les problemàtiques d’una lògica neoliberal escindida, polaritzant i jeràrquica. Així, plantejo un model fenomenològic i sensible travessat per
la mirada i conceptes com la dialèctica, el moviment i el recorregut, l’ambivalència i la contradicció. Al llarg del text especulo sobre les potències de la imatge a través de diversos autors, entenent-la com un element el qual envoltar per desgranar des de la pintura, però mai amb el fi de resoldre-la ni de fer judicis reduccionistes - els quals tracto i assenyalo com a tal- sinó des de les seves fissures i multiplicitats. Per altra banda, provo d’aclarir en certa mesura, amb relació al meu treball, les tensions entre memòria i desig i la qüestió relacional i autònoma de l’art, tot vinculant-les al marc epistèmic que proposo inicialment, pensant en obrir un espai per possibilitar una emancipació sensible de la mirada.
[eng] This work intends to establish a dynamic framework that helps me broach and contain artistic practice in order to gain room for manoeuvre. This field of containment is elaborated from operations such as complicizing, complexizing and corresponding, so as to avoid the predicaments of a split, polarizing and hierarchical neoliberal logic. Thus, I propose a phenomenological and sensitive practice tied to the gaze and concepts such as dialectics, movement and journey, ambivalence and contradiction. Throughout the text I speculate about the potential of images through several authors, understanding the image as an element to be surrounded in order to explain painting, but not from the angle of solving it or making reductionist veredicts - which I approach and point out as such - but rather from its fissures and multiplicities. On the other hand, I try to clarify to some extent, in relation to my work, the tensions between memory and desire and the relational and autonomous question of art, linking them to the epistemic framework that I initially propose, thinking of opening up space in order to enable a sensitive emancipation of the gaze.
[eng] This work intends to establish a dynamic framework that helps me broach and contain artistic practice in order to gain room for manoeuvre. This field of containment is elaborated from operations such as complicizing, complexizing and corresponding, so as to avoid the predicaments of a split, polarizing and hierarchical neoliberal logic. Thus, I propose a phenomenological and sensitive practice tied to the gaze and concepts such as dialectics, movement and journey, ambivalence and contradiction. Throughout the text I speculate about the potential of images through several authors, understanding the image as an element to be surrounded in order to explain painting, but not from the angle of solving it or making reductionist veredicts - which I approach and point out as such - but rather from its fissures and multiplicities. On the other hand, I try to clarify to some extent, in relation to my work, the tensions between memory and desire and the relational and autonomous question of art, linking them to the epistemic framework that I initially propose, thinking of opening up space in order to enable a sensitive emancipation of the gaze.
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Treballs Finals de Grau de Belles Arts. Facultat de Belles Arts. Universitat de Barcelona, Curs: 2023-24, Tutor: Padilla, Òscar
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GIL ALSINA, Eduard. Aquella, alhora una altra. [consulta: 24 de gener de 2026]. [Disponible a: https://hdl.handle.net/2445/214912]