Performance, una patada en el estómago del presente

Foto cortesía: Erick Diego

EDUARDO SUÁREZ |

Ciudad de México.- De calles a galerías, museos y tertulias cafeteras y etílicas, el performance ha transcurrido. Como una sombra efímera, como un reflejo en cada espejo de las ciudades y una bestia de cada persona que sale cada día a caminar, el arte-acción acción ha mutado con el paso del tiempo, tal vez al grado de perder su sentido contestatario y crítico para enredarse en temáticas redundantes como el círculo vicioso que conforma la Historia. Pero pese a que actualmente se documenta, cada momento se celebra un performance en la calles.

Para intentar atrapar y desglosar este sinuoso arte multidisciplinario, MilMesetas platicó con Erick Diego, curador, performancero y artista experimental quien alguna vez fundó la Galería Interferencial…

¿Cuál es la situación actual del arte acción en nuestro país?

—El arte acción es muy importante, porque es la esencia y el motor del arte contemporáneo. Existe una oleada de arte descafeínalo y eso es porque no se presta atención al arte acción como multidetonador de sentidos. Mientras México siga ignorando esta forma de vida u ocultándola al llamarle simplemente interdisciplinario se está perdiendo de mucho. La necesidad del taller surge por esta inquietud.

Actualmente Ex Teresa Arte Actual es como el centro del performance, debido a que en otros sitios, como el Museo del Chopo o el Carrillo Gil, disminuyó su difusión.

—Lo han disminuido a cuentagotas, es lamentable. Desde el épico boom de los noventa en el Ex teresa no se ha visto mucho interés en darle ninguna difusión, subordinándolo a otros temas, como presentaciones de audiovisuales o simple cabaret.

Erick Diego hace una pausa pensativa para recordar las temáticas performanceras que más le han movido, pero de manera sarcástica presume no recordar ninguna. Sin embargo, sí menciona a una Elvira Santamaría y a la Congelada de uva.

¿Cómo y cuándo se dio el brinco del llamado underground a un nivel institucional; eso afectó sus temáticas?

—Se dio en gran parte por la incomprensión de los bares que sólo buscan un beneficio capitalista. Como el ruido, el cual podría ser todo lo contrario de aleatorio, desproporcionado y rebelde por naturaleza propia. El ruido fue alojado por los museos como última estrategia para sobrevivir, aunque suene paradójico. El arte acción no es un arte en sí mismo, intenta de manera más directa y mucho más arriesgada que la escultura, de hacernos vivir en el presente.

Observamos que muchos artistas han mutado su arte o simplemente han mermado su producción, ¿a que se debe este impasse?

—Si existe en su obra, el artista; pero sólo como motor o proceso, nunca como resultado final.

Por su carácter efímero, ¿el arte-acción deja de ser performance cuando se le documenta: se le capta en video o en foto?

—Hay toda una serie de discusiones hacia el arte efímero: si deja de ser efímero en cuanto se le documenta. Después de ciertas investigaciones se puede ver que en mayor parte se trata de lo de difícil que era documentarlo, ya sea en fotografía o en video, por el poco acceso al equipo, y realmente, por un desinterés. Además otra motivación, fue hacer que la obra pudiera ser coleccionable, pero pienso que el performance, se documente o no, sigue siendo una patada en el estómago en tiempo presente.

”Es algo para vivir u lo otro, para convertirse en leyenda de boca en boca, como esta frase de Godard: “Algunas veces, la realidad es demasiado compleja para la comunicación oral, por eso necesita ser convertida en leyenda para que podamos verla…

Pensando en las palabras del cineasta francés, me llegó en abstracto la gente; cómo el artista conmueve la conciencia de la gente. Entonces le cuestionó al también músico experimental el por qué pocos artistas salen ya a la calle a performancear.

Se ve más a los “emergentes”, igual de repente al loco de Rodolfo de Matteis, o a Niña Yhared (1814) pensando en un proyecto de migración en las fronteras, pues la mayoría busca más algún museo o galería para presentarse…

—En la naturaleza del performance siempre existe lo que en el skateboard se denomina “street”, como es el proceso de un resultado final; es casi inmediato. Es decir, el pintor se siente limitado a un cuadro para expresar sus emociones y sale corriendo de su estudio para colocarse en un aparador nocturno de París. Como el objeto en sí mismo, estrategias fatales por salirse del formato y plasmar directamente sobre la realidad.

Entiendo, pero aquí pasó lo contrario del graffiti: del street-art al museo y las galerías; se institucionalizó y perdió en cierta manera su sentido de apropiación del espacio público y contestatario. ¿Crees qué le pasó lo mismo al performance afectando sus temáticas, soportes y formatos?

—El hecho que este en los museos es sólo para sobrevivir en la existencia del arte, pero cada artista de cualquier formato vive su propio performance para llegar a concluir su obra. En general sea la calle o el alma o la transgresión contra los Oxxos que vive diariamente…

Petróleo, reforma financiera, hambre, pobreza, etcétera… Temas que me inquietan por los dilemas del “arte por el arte” o “el arte es político en sí mismo”. Saltamos en la línea temática y le invitó hablar de la neurosis y el arte, la locura y la creación:

¿Cómo transformar la neurosis en arte?

—Arte es la adaptación por el hombre de la materia sensible o inteligible para un fin estético. Basado en esta máxima de James Joyce intentaremos transformar nuestra Neurosis, de manera alquímica, en arte. Transformemos la mierda en oro, una pesadilla en un cuadro, la fobia en sonido, la ansiedad en performance.

”Alquimia de la creación, convertir la basura en oro. Para Jung el artista ‘desvelaba’ arquetipos ayudando al observador del fenómeno artístico a comprender el universo y a través de esa propiedad elaboró toda una estrategia terapéutica basada en el valor simbólico del proceso artístico.

Estás y otras temáticas sobre los vericuetos del arte contemporáneo se abordarán durante el taller que nació “de la necesidad por reivindicar el arte efímero, muy por encima de la trascendencia”, el cual será impartido en el Taller de Performance (Arte Acción) el próximo 30 de agosto.

Para más información, da clic aquí.

| RMM | ES | @eduardo_surez |

“Historia de mi piel” (2012), Niña Yhared

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