UAM, casa abierta al arte contemporáneo

“Una visión artística posible” de Bela Gold

En el marco de la XXXIII Feria Internacional del Libro del Palacio de Minería, la Universidad Autónoma Metropolitana, unidad Azcapotzalco, presentó tres libros de reflexión sobre las artes visuales contemporáneas: Pulpo-Octopus, SEMEFO 1990-199: De la morgue al museo y Una visión artística posible.

En el acto estuvieron presentes Yoshua Okón (México), artista urbano que recurre a la fotografía y el video; Bela Gold (Argentina), quien trabaja con nuevas tecnologías aplicadas al arte; Mtro. Víctor Manuel Muñoz Vega, Director de Artes Visuales y Escénicas de la UAM; Eduardo Kotasek González, Jefe del Departamento de Procesos y Técnicas de Realización de la unidad Azcapotzalco; Bernardo Ruiz, coordinador general de Difusión cultural de la UAM; y la Mtra. Paloma Ibáñez Villalobos, rectora del campus Azcapotzalco.

Víctor Muñoz Vega expresó, antes de presentar las obras, que en estos últimos años se ha manifestado la necesidad de abrir una línea editorial en la Universidad dedicada exclusivamente a la reflexión de las artes visuales. Con los libros presentados en el acto, “nos damos cuenta que los artistas están tocando el corazón del conflicto contemporáneo.”

Pulpo-Octopus

Yoshua Okón, fundador del espacio artístico La Panadería (1994), expuso en 2011 la pieza “Pulpo”, un video-instalación de cuatro canales que muestra la recreación de la guerra civil guatemalteca en el estacionamiento de un Home Depot en Los Ángeles. Okón tuvo la idea tras leer el libro de Francisco Goldman, The Art of Political Murder: Who killed the Bishop? (2007), que habla sobre el golpe de estado y la guerra civil en Guatemala. Los jornaleros que aparecen en el video fueron ex combatientes en esas guerrillas que se establecen en el Home Depot para que alguien contrate sus servicios.

Sobre el libro Pulpo-Octopus, el artista considera que el libro no es “ningún catálogo sino más bien como un complemento a una video-instalación.” La pieza “Pulpo” contiene un contexto y marco teórico que se expresa perfectamente en el libro, señaló Okón.

Pulpo-Octopus se enfoca en la muestra el proceso de creación de la pieza, donde incluye cuadros de video y fotos de la filmación. A su vez contiene tres textos de contexto histórico y teórico en inglés y en español a cargo de Raúl Hernández Valdés (“Las extensiones del sentido”) y John C. Welchman “La guerra y la paz (Volumen II)”.

SEMEFO 1990-199: De la morgue al museo

La mayoría de las personas, cuando escuchan o leen la palabra SEMEFO se remiten al Servicio Médico Forense. Sin embargo, pocos saben que también fue un colectivo que trabajó artísticamente con partes de cadáveres, fluidos corporales y otros materiales orgánicos durante la década de 1990. Ellos buscaron una aproximación estética no al tema de la muerte, sino sus implicaciones socioculturales y la descomposición en sus diferentes etapas. Mariana David, curadora independiente, es la autora del volumen SEMEFO 1990-199: De la morgue al museo.

Para Víctor Muñoz Vega el libro “va a ser una de las piezas perseguidas por los estudiosos del arte mexicano de nuestros días dentro de diez, quince o veinte años.” SEMEFO 1990-199: De la morgue al museo reúne ensayos críticos e históricos sobre el colectivo escritos por Luis Javier García Roiz (“Las sinfonías de la putrefacción” y “La música de SEMEFO: entrevista a Carlos López”), Jorge Reynoso Polenz (“La recreación de lo verídico”), Pilar Villela Mascano (“El recuerdo de un cadáver que nunca estuvo ahí”) y José Luis Barrios (“SEMEFO: una lírica de la descomposición”).

Una visión artística posible

Bela Gold aborda en su obra, desde hace más de 10 años, el tema del holocausto. Como parte de su tesis de doctorado desarrolló el texto ahora presentado en formato libro bajo el nombre de Una visión artística posible.

En la obra, la artista argentina buscó una representación estética e historiográfica del holocausto a través de testimonios y documentos de archivo, ya que para ella los mismos archivos deben ser detonantes de la interpretación.

En el ensayo busca darle forma a lo indecible que implica el holocausto y representarlo a través de la estética, preservar la memoria sin dejar a un lado la representación de los hechos. A través de la resignificación que hace de las evidencias históricas, Bela Gold busca permitir que tanto ella como los espectadores puedan apropiarse del dolor y del sufrimiento, reflexionar sobre lo funesto y evitar su repetición.

“El arte tiene límites y es necesario estar consciente de ellos. La representación artística del ‘holocausto’ tiene límites estéticos y morales. No se trata de quebrar un tabú sino darle legitimidad a través de la desmitificación del mismo”, explicó Gold al respecto de la temática que aborda.

Una visión artística posible no tiene como objetivo “la denuncia ni la acusación, eso ya se ha hecho con suficiencia y ha encontrado eco en otras expresiones de la actividad humana, la búsqueda radica en que las evidencias del exterminio judío sean reapropiadas y resignificadas para buscar la perpetuación de la memoria donde el uso de la estética sea un factor detonante y antagónico para reforzar el mensaje,” aclaró la autora.

La UAM Azcapotzalco está en planes para traducir el libro al inglés y el alemán. El texto se presentará en el Museo de la Memoria y Tolerancia, el Museo de la Estampa y, probablemente, en Israel y Argentina.

Feria Internacional del Libro del Palacio de Minería / KRR

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