“Libro de Artista: Poemas de Juan Boscán de Crevillent”

Por Jesús Millán Muñoz.

Este libro de artista, ejemplar único, libro único, se titula: “Poemas de Juan Boscán. HilVic (13) (M.A.)” de Crevillent.

Las características materiales más importantes constan de 113 hojas numeradas y firmadas, tamaño cartulina, 65 por 50 cms., pintadas por los dos lados. Contiene fragmentos pegados de poemas de Juan Boscán. Ha sido realizado entre el 01 de abril del 2013 Cr hasta el 20 de septiembre del 2013 en Cr. Además firmada al final y certificada el 20 de septiembre de 2013 en CR. Además contiene una carpeta de un tamaño un poco mayor, pintadas por los dos lados. Todas las hojas están firmadas y fechadas por uno de los dos lados.

En cuanto a las características estéticas a mi entender esta obra, tiene cuatro niveles mínimos de interpretación:

1º Es un libro de artista, ejemplar único, libro único, siguiendo el género de esta forma de arte, por tanto, con sus hojas, etc., – como una especie de los antiguos libros manuscritos y miniados…-.

2º Podría ser perfectamente un mural… situándolo hipotéticamente entre cristales, y por tanto ser un cuadro-mural… visto por los dos lados… por ejemplo, dándole diferentes estructuraciones… según la cantidad de papeles u hojas se pongan en una dirección y otra. (Así tendría un tamaño solo visto por un lado de un cuarto del mural del Juicio Final de Miguel Ángel).

3º Teniendo en cuenta, toda la multiplicidad de visiones-perspectivas que ofrecen los manifiestos artísticos, que les indiqué… pero esto es ya más complejo de explicar aquí. Instalación, etc. Véanse Manifiestos Artísticos…

4º Como obra de Arte total y Obra Total. Véase manifiestos artísticos.

Hasta donde conozco, no hay nada en el panorama español y extranjero de una obra, de este tamaño, esta extensión y este trabajo – excepto las que este autor ha realizado -.

Por tanto, sería en una versión simplificada, un libro de artista, a semejanza de los códices medievales, con textos e ilustraciones, y por otro lado, tendrían todos esos sentidos que anteriormente he indicado.

Toda producción cultural, es polisémicas, polifuncional, polisemántica, por lo cual, tiene muchos significados y significantes, esta obra en concreto también. No sólo estarían los diversos niveles de materialización que antes he indicado y otros, sino todas las perspectivas que los manifiestos artísticos plásticos, que el autor durante décadas ha ido señalando y fijando.

Es decir, es un intento de obra de arte total, o una obra total. Por todas las ramificaciones que tiene, estéticas, de teoría de las artes, de los saberes interrelacionados, etc., que se señalan en esos manifiestos artísticos y estéticos.

Es un intento de llevar el arte un poco más lejos que las vanguardias de estos casi dos siglos ya, desde el impresionismo, o si se quiere desde los predecesores, algunas pinturas de Goya, Turner, han intentado abrir un nuevo camino.

En estos casi dos siglos, desde el impresionismo, se han ido acumulando una serie de cambios formales y estéticos, tendencias y diversas vanguardias. En ese trayecto se sitúa esta obra, y el arte que ha ido realizando este autor. Ciertamente ha querido y creo ha conseguido llevar el arte plástico un grado más allá, diríamos que estamos en una situación de posvanguardia.

Ciertamente, el mundo del arte con otras tendencias, que enseguida han admitido y divulgado y difundido e invertido, raramente éste conjunto de manifiestos, que el autor denomina neovanguardias, que unidos, pueden que abran un nuevo mundo al arte, de significados y significantes estéticos, conceptuales, culturales, expresivos y de entendimiento de la realidad. Decía el mundo del arte no ha admitido o solo parcialmente…

Decía, es una paradoja, contradicción, irracionalidad, que tantos ismos han inventado o lanzado o diseñado, y han sido acogidos, y este conjunto de manifiestos artísticos, un total de una cincuentena, al menos una docena abren nuevos caminos, al arte, a las artes, también literarias, y de otro tipo, pero especialmente a las plásticas, llevan los agentes y el mundo del arte, décadas de silencio ante los manifiestos y ante las obras que se han ido realizando, y enviando y proyectando en el mundo. Y todas las que se podrían hacer, porque todos los manifiestos clásicos de las vanguardias y de las no vanguardias podrían realizarse obras en ellos.

Es una paradoja o controversia o contradicción que el autor de estos manifiestos, y de estas obras, como este libro de artista o mural o instalación, que abre nuevos caminos, como si se descubriera nuevas geografías mentales y culturales. En un tiempo, que parece ser, todo el mundo busca nuevas innovaciones y creaciones, y modos de expresar la realidad, de encontrar nuevos nichos de expresión y de la realidad, realidad interior y exterior. Al menos dentro de la legalidad y la moralidad vigente. Es una paradoja que estos manifiestos duerman, ya hace lustros y décadas, el sueño del silencio, y las obras realizadas con ellos, también. Y las que se podrían realizar, en el terreno de la imaginación. ¿Quién conoce la respuesta a esta paradoja, que unas obras y unos manifiestos estéticos que posiblemente abran nuevos horizontes, nuevos mundos mentales y culturales, duerman en el silencio y en la casi nada?

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