Cartografía de los procesos creativos en las artes visuales: más allá de la representación artística en la pintura limeña de hoy
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2021-01-29
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Pontificia Universidad Católica del Perú
Abstract
Entiendo a las artes tanto como práctica que como sistema institucional, sociocultural e
históricamente situados, que funcionan articuladamente definiéndose permanentemente
la una al otro y viceversa. Los procesos creativos en las artes visuales, como práctica
social y cultural, hablan de las vivencias y experiencias de los artistas tanto desde su
dimensión individual, su capacidad creativa, como desde su dimensión social, su
habilidad de dar lugar a propuestas de arte que circulan en el plano sociocultural. Sin
embargo, cada decisión y ulterior acción por parte del artista deberán ser contrastadas
con los ideales, conceptos y supuestos que desde el sistema del arte validan a dicha
propuesta como realmente artística. Busco caracterizar dichos procesos creativos para
comprender cómo se articula la dimensión personal y subjetiva del artista con la
institucionalidad del sistema de las artes, en tanto configuración concreta de las
condiciones socio-históricas de la contemporaneidad, a saber, los cuestionamientos
posmodernos en lo general y la crisis de la pintura como soporte en lo particular, dentro
de la cual se enmarcan los procesos creativos en las artes visuales hoy en día. Mi
pregunta de partida es ¿Cómo se articulan las características y condicionantes
institucionales de los procesos de creación y producción dentro de las artes visuales
contemporáneas con la manera en que dichos procesos se dan desde la subjetividad y
cotidianeidad de los artistas pintores en Lima? Desde una perspectiva etnográfica tomo
el concepto de habitar de Ingold (2000) y propongo que las artes son la forma de habitar
el mundo de los artistas. Dentro del sistema de las artes visuales en Lima hoy, estos
procesos creativos se traducen en prácticas de resistencia que los pintores realizan,
desde su subjetividad y el uso de sus capitales, para ampliar los márgenes de acción
institucionales, y lograr habitar creativamente el mundo en devenir.
I understand arts as a practice and as an institutional system, both, sociocultural and historically situated, which function permanently articulating and defining each other and vice versa. Creative processes in visual arts, as social and cultural practice, speak of life experiences of artists from their individual dimension, their creative capacity, and their social dimension too, their ability to give rise to artistic proposals that circulate in the sociocultural plane. However, each artist’s decision and subsequent action must be contrasted with the arts system’s ideals, concepts and assumptions that validate that proposal as truly artistic. I seek to characterize these creative processes to understand how are artist’s personal and subjective dimensions articulated with the arts system’s institutionality. It does as a concrete configuration of socio-historical conditions of contemporary times. It, in general, means postmodern questions and the crisis of painting as particular support. Both of them set up the frame within the creative processes in visual arts take place today. My starting question is how do characteristics and institutional conditions of the creative processes articulate, within contemporary visual arts, with the way in which these processes occur from the subjectivity and daily life of the artists in Lima? From an ethnographic perspective, I use Ingold (2000) concept of dwelling and propose that arts are the artists’ way of dwelling the world. Within the visual arts system in Lima today, these creative processes translate into resistance practices that painters perform, from their subjectivity and the use of their capitals, to expand institutional margins of action, and creatively manage to dwell the world in becoming.
I understand arts as a practice and as an institutional system, both, sociocultural and historically situated, which function permanently articulating and defining each other and vice versa. Creative processes in visual arts, as social and cultural practice, speak of life experiences of artists from their individual dimension, their creative capacity, and their social dimension too, their ability to give rise to artistic proposals that circulate in the sociocultural plane. However, each artist’s decision and subsequent action must be contrasted with the arts system’s ideals, concepts and assumptions that validate that proposal as truly artistic. I seek to characterize these creative processes to understand how are artist’s personal and subjective dimensions articulated with the arts system’s institutionality. It does as a concrete configuration of socio-historical conditions of contemporary times. It, in general, means postmodern questions and the crisis of painting as particular support. Both of them set up the frame within the creative processes in visual arts take place today. My starting question is how do characteristics and institutional conditions of the creative processes articulate, within contemporary visual arts, with the way in which these processes occur from the subjectivity and daily life of the artists in Lima? From an ethnographic perspective, I use Ingold (2000) concept of dwelling and propose that arts are the artists’ way of dwelling the world. Within the visual arts system in Lima today, these creative processes translate into resistance practices that painters perform, from their subjectivity and the use of their capitals, to expand institutional margins of action, and creatively manage to dwell the world in becoming.
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Keywords
Antropología visual--Perú, Arte y antropología, Pintura peruana--Aspectos antropológicos
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