Hacer arte como ejercicio de autonomía
Abstract
Se propone una lectura del Movimiento Erótico (1983) de Roberto Valcárcel, a la luz de las ideas de Marcuse sobre la represión y el arte. La interpretación se ancla en los conceptos de represión excedente (surplus repression) y principio de actuación (performance principle) establecidos por Marcuse; así como en su planteamiento de que hacer arte podría ser una actividad no represiva y, por ende, autónoma. El Movimiento erótico, en sus dos versiones -primero en la galería Emusa de La Paz y luego en la Bienal de São Paulo- propone buscar alternativas a la represión invisible desde la misma práctica artística. Se argumenta, además, que en la misma obra se alude a la especificidad de la represión implícita en los contextos y espacios en los que se presenta: la mentalidad autoritaria en la sociedad boliviana hacia 1983 y la represión implícita en la Bienal y eventos similares donde el arte acaba reduciéndose a un objeto más de consumo de la industria cultural.
This article proposes a reading of Roberto Valcárcel's Erotic Movement (1983) in the light of Marcuse's ideas on repression and art. The interpretation is informed by Marcuse's concepts of surplus repression and performance principle, and by his proposal that making art could be a non-repressive and, therefore, autonomous activity. The two versions of the Erotic Movement -first at the Emusa Gallery in La Paz and then at the Bienal de São Paulo- propose alternatives to the invisible repression from within artistic practice itself. Moreover, the author argues that the work itself alludes to the specificity of implicit repression in the contexts and spaces in which it was exhibited: the authoritarian mentality in society in Bolivia around 1983 and the implicit repression in the Bienal and similar events where art ended up being reduced to one more object of consumption in the cultural industry.
This article proposes a reading of Roberto Valcárcel's Erotic Movement (1983) in the light of Marcuse's ideas on repression and art. The interpretation is informed by Marcuse's concepts of surplus repression and performance principle, and by his proposal that making art could be a non-repressive and, therefore, autonomous activity. The two versions of the Erotic Movement -first at the Emusa Gallery in La Paz and then at the Bienal de São Paulo- propose alternatives to the invisible repression from within artistic practice itself. Moreover, the author argues that the work itself alludes to the specificity of implicit repression in the contexts and spaces in which it was exhibited: the authoritarian mentality in society in Bolivia around 1983 and the implicit repression in the Bienal and similar events where art ended up being reduced to one more object of consumption in the cultural industry.
Description
Vol. 22, No. 40