Crisis y permanencia del otro en la creación contemporánea multidisciplinarla producción artística conjunta

Resum

Artistic creation as a couple occurs when we recognize each other, it is the product of coexistence. Our vision of the creative process and method that happens in joint creation is based on the experience of the person who carries out his work in this way. In my particular case, my artistic partner and I evolved as a team thanks to the development of a personal artistic contribution based on our research in Fine Arts, in which we study and analyze the work of other couples, teams and collectives; as well as its historical evolution, methods and strategies for creation. We can say that, in the couple, the construction of these contributions — both theoretical and practical— are the result of the exercise of dialogue. This methodology is similar to a cyclical movement in which two states follow: concealment and revelation. The translation from the occult to the revealed resembles the current idea of dialogue insofar as both interlocutors expose their ideas to the other, "revealing" them thus showing a part of themselves that they believed to be non-existent. Individual identity draws on the image that the other has about ourselves because we are —essentially— the reflection we see in others. The same is true during the creation process in creative duos and teams. In the couple there is a tension, sometimes an opposition or a struggle. This force of change becomes the team's best ally, as it helps both partners to confront their ideas by exercising the dialogue. The object of this research, framed in the field of Fine Arts, focuses on the study of the understanding of cooperative creation mechanisms and, in particular, in the analysis of the methodologies of partner creation, on which we will reflect so much from theory as well as from artistic practice. We will also underline the idea that dialogue becomes an effective means of building thought. Regarding the structure of research, it can be said that it consists of three chapters, each of which addresses a fundamental aspect of the problem of joint creation. The chapters have been organized from the premise of understanding, first of all, what the Other means on a social level, to try to approach their meaning in art through the continuous use of parallels with related humanistic areas in support of our Reflections. In this way, we will analyze the extent to which the idea of the Other takes shape through the work of outstanding artistic couples such as The Other (composed of Marina Abramović and Ulay) or Gilbert & George and to what extent there is an unsolvable correlation between work, life and identity in these cases. Thus, throughout the first chapter, entitled "The Meeting", we raise the question of the Other from the duality of the term “meeting” or "encounter" —understood as shock or confrontation, but also as a find or union—. Here we delve into this idea through the thinking of authors from history, sociology and philosophy, such as Descartes or Hegel, but always from a reading positioned in art as a space of confluence; in this way we will also attend to poetry and literature, film and theatre and, especially, the visual arts and contemporary creation. In the central chapter, called "The Other in Artistic Creation", more concrete examples of how the Other is seen in the visual and visual arts, analyzing the modus operandi of the different forms of collaboration that can occur in the Creation. In the different sub-sections of this chapter we will examine issues related to identity as an individual, the dual condition, the need for recognition in the Other or the role of the alter ego, putting these issues in relation to popular culture and its contemporary drifts. The last section, entitled "Dialogue as a model of building thought" is dedicated to the reflection of how the experience of encountering our neighbor and our dedication to coexistence allows us to better understand the individual Self and create new possible forms of communication, as well as to build and give value to contemporary thought, the origin of which is often found in the memory of the collective. That is why, from selected works from the field of mass culture, we will highlight the interest of its authors in the issues surrounding the Other and their interaction with the Self; works that aim to highlight that the relationship with the other goes beyond "recognizing us in the world" and knowing us "here and now", in Heidegger's terms. In popular culture, the relationship with the other implies a deep meaning, comparable to the way the artistic couple develops their work in the intimacy of their studio. For the collective imagination, sharing an idol means being reflected in the Other and, in doing so, it is possible to understand aspects of ourselves that we did not know about. Therefore, in our research, the encounter, the dialogical and the collective memory will be fundamental to articulate a discourse around the Other, whose presence in contemporary art and pop culture is, in our view, increasingly resounding. Philosophical thinking has wanted to answer the questions that trigger the appearance of the Other within human reason. Using philosophy, we will highlight the uncertainty that, historically, for humans has brought the confrontation with his neighbor, which will give us the stand to reflect on "the encounter", putting it in relation to artistic creation. We believe that in the field of Fine Arts there is still a wide margin of research and reflection on the idea of encountering the Other. In fact, as is important in this study, there are many and substantial proposals resulting from artistic creation as a couple, the collaboration of teams and the work between groups of different natures. Forms of collaboration that, by extension, have highlighted issues such as easement in workshops and their hierarchical structure or the capacity to work and collaborate that some groups and teams have been presenting since the 50s and 60s. Moreover, today many individuals and artistic couples have emerged who develop their work and use a shared methodology, the basis of their method being dialogue and confrontation of ideas. Finally, it should be noted that the cross-cutting purpose of this research aims to highlight three essential ideas. On the one hand, we intend to enhance the strength of dialogue as a means that promotes artistic creation as a team; on the other hand, reflect on how an artistic couple employs a shared methodology for the development of theoretical-practical research in the field of Fine Arts; and finally, to defend the way in which popular culture has determined the way we see and understand the other today and the value that this has given to collective memory in our century. In our opinion, now more than ever, the conditions are given so that the Other can be seen as a means that allows us to understand ourselves, thereby enhancing the advantages of surrendering to the meeting and, later, to the experience of joint creation.