“Arte y Tendencias y Mercado”

Por Jesús Millán Muñoz.

¿Empecemos por una pregunta si hoy, si surgiese un movimiento estético y artístico nuevo, que de alguna manera, fuese un nuevo paradigma, en el arte de vanguardia, y que de alguna forma lo realizado en estos últimos setenta años lo pusiese en crisis, ese movimiento lo incentivarían o lo dejarían que no levantase vuelo?

¿Si hoy, surgiese un nuevo movimiento, no un nuevo ismo, que puede y debe encajar con el arte de vanguardia anterior, que no plantea una crisis con lo anterior, sino que fuese una tendencia nueva que obligase a replantearse el valor estético, y por consecuencia, el económico y el valor del arte de la vanguardia de las últimas siete décadas, se dejaría que ocupase un lugar esencial en el panorama mundial…?

¿Imaginemos como posibilidad que hoy, alguien, individuo es capaz de llegar a unos paradigmas estéticos, por los cuales, gran parte del arte de las vanguardias de después de la segunda guerra mundial, habría que retraducir su valor estético, permitirían que esto sucediese, o esa nueva tendencia, no le dejarían que terminase ocupando un lugar en el mundo del arte…?

¿Imaginemos que una nueva tendencia estética y artística, reescribe el valor del arte de vanguardia, por lo cual, no solo tendría unos aspectos estéticos, sino económicos, imaginemos que existiese la posibilidad, de que docenas de miles de obras de arte, realizadas en estos setenta años, tuviesen que reformularse su valor estético y por tanto, su valor cognoscitivo y conceptual y económico…?

¿De alguna manera, no sucedió con el impresionismo cuándo triunfó que se desdibujó y se reevaluó el arte del siglo diecinueve, y de alguna manera, no solo se redujo el valor estético, sino también el artístico-conceptual, y solo ahora parece que se está recuperando…? ¿Pero además después vinieron todas las primeras vanguardias estéticas y artísticas, no solo en su proyección en arte plástico, sino en todas las artes, y por tanto, dieron la puntilla, con el arte del siglo diecinueve, o con gran parte de él, tendencias, obras y autores…?

¿Por eso un nuevo ismo o tendencia o manifiesto que cambie algo del arte o de los movimientos de vanguardia, si es aclamado y necesitado y buscado y deseado, porque es diríamos, una nueva manifestación, en el cual, las obras de la época anterior de la vanguardia, de los setenta últimos años, solo modifica levemente, los coleccionistas, museos, casas de subastas, críticas, etc., completan y complementan lo que tienen con ese nuevo ismo o nuevo arte, nueva tendencia o nueva aplicación a una nueva técnica, por ejemplo, el video?

¿Es más un nuevo ismo en este sentido es necesario, para que el mercado del arte, rejuvenezca, los coleccionistas y museos, se vean obligados a comprar nuevas obras de arte, con esa tendencia, es decir, lo nuevo hace más viejo lo anterior, y entonces, lo nuevo revaloriza lo anterior, por eso, se ha ido pasando de un ismo a otro ismo, de la vanguardia a las nuevas vanguardias, del abstracto de la primera vanguardia al neoabstracto de las segundas o terceras vanguardias, del expresionismo al neoexpresionismo…?

¿Pero la cuestión es si no surge un nuevo ismo o tendencia, que revaloriza de alguna manera, las anteriores vanguardias, sino que pone en crisis, las vanguardias últimas, de los últimos setenta años, entonces que sucedería…? ¿Entonces ya no convendría tanto cambio estético…?

¿Si surge un nuevo paradigma, por el cual, es aplicable a todos los estilos estéticos, desde los realismos a la figuración, a los abstractos, a los expresionismos, cubismos, etc., y aplicado a todas las técnicas estéticas y artísticas, o a casi todas, entonces, una obra, equis de un autor zeta, de una tendencia eme, sea cual sea, tiene que enfrentarse, confrontarse, con el valor estético y artístico con una obra realizada con el nuevo paradigma, y por lo cual, quedaría digamos en una situación de clara inferioridad, en su calidad cognoscitiva, esencialista, de contenido y de significado…?

¿Cuándo el Renacimiento surgió, con todos los cambios estéticos y de perspectivas, todo el arte anterior, se tuvo que revalorizar y ocupar cognoscitivamente un valor diferente…, porque el renacimiento, no era un solo cambio de estilo o de tendencia o de estética nuevo, sino que era una revolución estética y artística…?

¿Por tanto si alguien, equis, crea o descubre o inventa unos nuevos manifiestos artísticos y estéticos, aplicables a todas las artes y artes plásticas, y a todos los géneros, y a todos los ismos, que son una “revolución estética y artística”, no un nuevo cambio, sino un cambio de paradigma artístico y estético, con lo anterior, que se puede denominar “neovanguardia”. Entonces posiblemente ese nueva tendencia, hay que ocultarla, invisibilizarla, olvidarla, cosa que es lo que está sucediendo en estos últimos casi cuarenta años?

¿Si alguien presenta todos estos cambios estéticos, en un conglomerado de manifiestos artísticos, pero todos unidos, todos aplicables a todas las obras…, esto el mercado no puede asimilarlo, ni aceptarlo que es lo que lleva sucediendo todas estas décadas?

¿Entre otros manifiestos artísticos estarían: el biperspectivismo (Una pintura o dibujo o grabado está pintado por los dos lados, y ambas forman la misma obra de arte), el poliperspectivismo (una obra de arte se percibe y se ve colocada en distintas posiciones, puede cambiarse de perspectiva, arriba o abajo, de lado, etc., viéndose en distintas perspectivas), el políptico o mosaico (varios dibujos o pinturas o grabados, se pueden colocar en distinto orden, formando multitud de posibilidades), la gravedad (la obra se cuelga del techo, el dibujo o pintura, y al estar pintado por los dos lados, hay que rodearla), de los tres reinos o mundos (el dibujo o la pintura o escultura se incluirían realidades materiales, vegetales y animales, estados sólido, líquido, gaseoso), de la fragmentación o distanciamiento (un cuadro o un dibujo o cualquier otro género puede ser la misma obra, pero estar en dos lugares diferentes, en dos geografías diferenciadas, paredes o lugares físicos), de la luz (cada dibujo o pintura o escultura se le reflejan luces de distintos colores y así la obra adquiriría cambios infinitos), arte mental (el espectador ante una obra de arte, tiene que verla normalmente, pero después ir aplicando todos estos manifiestos artísticos, y por tanto, una obra acaba teniendo una riqueza enorme de significados y significantes),multipoliperspectivismo (un lienzo por ejemplo, tiene pegadas diez pinturas en papel, por consecuencia para verlo hay que irlas levantando una a una, lo que el arte cambia totalmente de significado), manifiesto de la espiritualidad o búsqueda de Dios (la obra de arte, no es solo cosa material o psíquica, sino que es una forma de entrar a niveles de esencialidad humana, lo más posible, y también una búsqueda del Ser Supremo), del libro de artista o mural (un libro de artista, con cien cartulinas pintadas, son a su vez, un mural), de la hipertextualidad (un dibujo o pintura o escultura personal se vería en sí misma, pero además tendría que verse teniendo en cuenta la red, y tendría que ampliar significantes y significados, la obra se convierte en algo hipertextual, teniendo en cuenta lo escrito, lo dibujado, incluso unida a todas las obras de arte y realidades de la naturaleza del mundo, etc.), obra única o arte total (aunque los miles de dibujos y pinturas y esculturas que he realizado, tienen cada una su autonomía, todas forman un único cuadro o dibujo o mural o catedral o rascacielos…), al menos mentalmente todos tienen que verse unidos, y al menos con la razón se puede ver, un edificio o templo o rascacielos con miles de dibujos y pinturas en sus paredes, como enormes murales, y formando una unidad. De la obra total (un dibujo o pintura es en sí, pero en mi caso está unido a todas las demás obras, manifiesto obra única u arte total, también está unido a toda la obra escrita, y forma la obra total, siguiendo las especificaciones indicadas en los manifiestos, y a esto lo denomino obra total: unión de plástica, literatura, filosofía y otros saberes, en una obra que titulo Soliloquios). Del mural. Un libro de artista, con cien hojas, por ejemplo, es un libro de artista, pero también es si se pone en una pared una especie de mural. Uniendo varios libros de artista, se podrían poner en distintas paredes y techos de un recinto. Templo. Es decir, una especie de Capilla?  ¿Y otros, etc.? (Véanse manifiestos artísticos). Y estos manifiestos artísticos aplicados a cualquier género artístico o estético o literario o arte

¿…?

http://www.facebook.com/cuadernossoliloquiosjmm     © jmm caminero

 

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