Una herencia indeseable: Breve estudio de un cuadro de Tamam Al Akhal

“Herencia” (1992), Tamam Al Akhal

“Herencia” (1992), Tamam Al Akhal

CARLOS EDUARDO MALDONADO |

Hay países sobre los que no sabemos nada, o muy poco. A no ser, claro, las noticias, habituales o intermitentes, de los grandes medios. Pero por principio esas noticias hay que leerlas cum granu salis, pues la realidad no es nunca plana e inmediata. La información que reciben los ciudadanos normales es editada, producida y post-producida. Pero bueno, en otra ocasión volveremos sobre este tema.

Palestina es un buen ejemplo de aquellos países sobre los cuales casi todo lo ignoramos. En especial lo que tiene que ver con cultura, ciencia y filosofía. Detengámonos aquí en una faceta de la cultura: el arte. Y en un nombre: Tamam Al Akhal.

Palestina de origen (Jaffa, 1935), Tamam representa, junto con su esposo Ismail Shammout, Abed Absi, Rana Bishara, Jawad El Malhi, Larisa Sansour y Fayez El Sirswani, entre muchos otros, una pléyade de pintores palestinos de la más excelsa calidad y originalidad, todos reunidos gracias a, y alrededor de, el Centro Cultural Khalil Sakakini, una ONG con sede en Ramallah.

Hay un cuadro de 1992 sobre el que quisiera concentrar la atención. Se trata de Herencia, un óleo sobre lienzo que se encuentra actualmente en la Universidad de Birzeit, la más antigua Universidad de esa nación, cerca de Ramallah, en los Territorios Palestinos. Se trata de un cuadro que, sugiero, puede entenderse mejor si se lo mira de abajo hacia arriba, y luego nuevamente hacia abajo.

Con una policromía modesta, digamos austera, es el color el que define las líneas y los rasgos. Se trata de un cuadro que permite ser visto prácticamente desde cualquier ángulo. Es impactante a primera vista, y cuanto más tiempo se le dedique mayor hondura produce en el espíritu. Un joven, no, un niño —de aproximadamente siete años de edad— arrastra, con esfuerzo, con pena, con dolor incluso, un pesado cadáver. Con seguridad algún familiar. Puede decirse que su padre.

El niño anda descalzo, y sus pies se ven gruesos, pesados. Ha andado descalzo un tiempo largo. No tienen cayos, pero sus pies denotan ya trabajos y esfuerzos que no son normales para un niño de su edad. Está vestido de manera sencilla, con todo, decente. Tiene estrictamente lo necesario, pero sus ropas no son harapos. Pantalón azul oscuro, camiseta azul claro. Azul: color primario.

Si hemos de creer a la psicología del color —campo quizás fundado por el gran Goethe, quien más que una psicología del color expuso una teoría del color (Zur Farbenlehre, literalmente “Doctrina sobre el color”, de 1810), desarrollada en franca disputa con la óptica de Newton—, el azul representa la inteligencia, la reflexión y la paciencia. ¿Paciencia? He aquí una primera clave del cuadro de Tamam. El azul además constituye el áurea, el fondo, la mise en escène de la Herencia. Sólo que el azul del fondo, pintado justamente como soporte de todo el cuadro, tiene en el centro, digamos, coincidiendo hacia delante y hacia atrás del plexo del niño, tonos blancos, amarillos. Es como dos destellos de luz, delante y detrás suyo. En la parte de atrás del niño, el plexo solar se aprecia mucho más claro y mejor, mientras que en la parte de adelante la luz blanca y amarilla es algo menos fuerte o nítida.

El niño lleva un pesado fardo, un cadáver que no respeta las proporciones pues es más grande, bastante más grande de lo que pudiera representarse si nos atuviéramos a la realidad. El cadáver está desnudo, no ha habido tiempo de envolverlo. Su color amarillento es señal inequívoca de que el deceso no ha sucedido hace poco tiempo. El niño lleva, con esfuerzo, desde hace un tiempo, un cadáver que no es reciente. Se trata el cadáver de un hombre. ¿No son los hombres (prima facie) quienes mueren en las guerras, los conflictos, los enfrentamientos?

En las pinturas de Al Akhal, es habitual ver escenas con sólo mujeres —por ejemplo, en Grinding stones (la piedra de moler, C.E.M.) de 1986, o Mujeres palestinas (1972), o una mujer, mayor, diferente en cada caso, el homenaje a la mujer anciana, sabia: Um-Ulias (1978) o La Señora Bahiya (1963)—, o de sólo hombres, como en Samed (1978). En su iconografía son más bien raros los cuadros en los que aparecen los dos sexos, pues, utilizando técnicas mixtas (acaso diferentes) de un cuadro o período a otro, los motivos generales son los que sobresalen, como en Herencia palestina (1984) o Los pescadores de Jaffa (1996), por ejemplo. Lugar propio merece el cuadro Pero la educación continua de 1989.

La situación y la historia de Palestina permiten entender el fondo y la base que se representa en el cuadro. Las mujeres quedan al cuidado de la casa y los críos. Los hombres salen a trabajar y combatir (¿dos cosas diferentes?). Incluso en las escenas de los grandes medios —CNN entre ellos—, son niños, jóvenes y adultos los que aparecen en la intifada, son hombres los que aparecen en la barricadas y las calles bombardeadas. Pero con la situación, dolorosa, del Medio Oriente, tal es la situación generalizada de la guerra. Claro, cuando no recordamos cómo en los conflictos armados, tradicionalmente, un arma de guerra es el cuerpo de la mujer.

El tamaño (algo) exagerado del cadáver deja ver que es una muerte grande, no pequeña ni normal. Es el peso de la muerte más grande de lo que pareciera soportarse a primera vista. Pero el niño puede, aguanta; con esfuerzos, sin ser fácil, ahí va.

El color amarillento del cadáver permite adivinar, sin dificultad alguna, que el rigor mortis ya ha marcado al cuerpo que porta el niño. Es más, el adulto murió en los brazos del niño y sus características se han producido mientras el niño llevaba, cargado, con cuidado y esfuerzo el cuerpo fallecido. Y aquí viene una clave importante del cuadro. El niño avanza… pero su marcha es hacia atrás, no hacia delante. De otro modo, arrastrándose pesadamente, el cadáver no mostraría las plantas de los pies. Los pies son arrastrados en el empeine, seguramente raspados, pero las plantas de los pies, ya con el rigor mortis dan muestra claramente de que la marcha del niño es hacia atrás.

Por lo demás —si se observa la forma como aparece el niño—, el pie izquierdo soporta, en el instante del cuadro, todo el peso propio y del fardo que porta. El pie izquierdo está abierto hacia el extremo saliente, soportando —por la postura y la flexión de la rodilla— la principal parte de la carga. La inclinación de la pierna derecha muestra que el niño hace un esfuerzo para sostener, cargar y avanzar, todo, muy lentamente.

El cuadro en efecto no es una instantánea —como muchos otros cuadros en la historia del arte pueden serlo—. Antes bien, cabe percibirse un ritmo lento, pausado, quedo. Tamam nos permite una película en cámara muy lenta. Casi sólo se escucha la respiración forzada, lenta pero sostenida del niño…

El niño camina, pues, hacia atrás. Los brazos del cadáver no se mecen: el rigor mortis lo impide. Y si lo hacen es un movimiento torpe, brusco, de una mole. Los dedos de las manos prácticamente rozan el suelo, permiten comprobar que la marcha es hacia atrás. Vaya paradoja, una manera también de avanzar.

No es claro, en forma alguna, hacia dónde se dirige el muchacho, pero parece haber más luz del lado hacia donde se mueve, hacia su espalda. Al fin y al cabo, cuando parecemos estar en un túnel, en medio de la total oscuridad, ¿no nos movemos en dirección hacia la luz? Luz, universo conocido, universo probable y posible, metáfora por antonomasia de la esperanza.

El cadáver es el de un hombre joven, un adulto digamos. No un anciano. Aún se adivinan, sobre todo, en sus piernas y brazos, un hombre que muere temprano, pues sus músculos eran fuertes y lozanos. ¡Hay regiones enteras en el mundo en las que morir de vejez es un verdadero lujo! Podría hacerse la lista de estos lugares, pero no es el punto.

El rostro completo del niño demuestra esfuerzo, pero el dolor se concentra en sus ojos. Oblicuos, caídos, con una arruga de expresión en el ceño, ya claramente esculpida por la vida. Y su mirada, triste, lejana, y sin embargo una mirada que no desfallece. ¿A dónde se dirige su mirada? No es del todo claro. No sabemos si a nosotros los que lo miramos, o a alguna parte arriba, no mucho más allá, detrás nuestro; o, incluso, a algún lugar en las alturas.

La respiración del niño es fuerte. Su aliento, con la boca —quizá— semiabierta, rebota contra la manga de su camiseta. El calor de su vaho contrasta con la frialdad del cadáver. El niño seguramente suda por el esfuerzo, pero el calor de su sudor se corta con la frialdad del cuerpo que carga.

El niño, un niño que porta el cadáver de un mayor. ¡Vaya herencia! El motivo, sin embargo, se remonta hasta la antigüedad. Desde Edipo en Colonia, incluso más atrás, en los orígenes de la mitología hebrea que se proyecta en la cristiandad: “los hijos pagan las culpas de los padres”. Unos lo llaman “pecado original”, otros “karma”, deuda de acciones precedentes; en los términos de Tamam, sencillamente, el niño recibe su herencia.

La niñez, que alguna vez quiso ser —especialmente a partir del siglo XVIII cuando es “inventada”, en particular por Goethe, Pestalozzi y Rousseau— el paradigma de la inocencia, la espontaneidad y la autenticidad, la vida pura. Casi, casi el estado de naturaleza. ¿Merece un niño recibir una herencia semejante? En muchos lugares del mundo se trata de la facticidad misma de la existencia. Pero desde el punto de vista moral se trata de una maldición, un adefesio, un escándalo. ¡No hay derecho a que haya, en muchos lugares, generaciones enteras que reciben una herencia como la que pinta —con profunda humanidad— Tamam Al Akhal!

¿No es el motto de la sostenibilidad, esa idea naciente a partir del Informe Brundtland al Club de Roma en 1973, la idea según la cual debemos dejar a nuestros hijos la tierra por lo menos como la recibimos nosotros mismos? Desde una perspectiva incluso perfectamente distinta, cabe ver en este cuadro el drama de la inversión de la pirámide poblacional y la crisis mundial del sistema pensional ocasionada por el capitalismo financiero y la globalización.

No es que la historia consista en progreso, esa visión particular de Diderot y D’Alembert, y que no hacen otra cosa que expresar el espíritu mismo de la Modernidad. Manifiestamente, no un progreso lineal y acumulativo. Pero no hay derecho a que heredemos a los más jóvenes vejámenes, sufrimiento y deudas que no lograron resolver los mayores.

El niño del cuadro de Tamam avanza, hacia atrás. En fin, a veces, en la vida, hay que avanzar hacia donde se puede. De manera oblicua, en zigzag, no siempre “hacia delante”, en fin, si es preciso, avanzar incluso hacia atrás. En cualquier caso, salir del atolladero…

En el cuadro mencionado hay dos generaciones pero una sola unidad. Una, adulta, prematuramente muerta; la otra, joven aún, doliente, aguantadora, paciente quizás. Pero en movimiento.

Ahora, el asunto no es que sea, tradicionalmente, tarea de los más jóvenes enterrar a sus mayores. En absoluto. En dicho caso, de un lado, la muerte sobreviene como un acontecimiento natural. Y de otra parte, con el dolor y el duelo incluidos, se acepta como un proceso mismo de la vida. No es, en manera alguna, nada de eso lo que encontramos en este cuadro. Por el contrario, la “herencia” es injusta, no es deseada, es asumida, claro, pero no tiene nada de natural. De aquí el grito silencioso que exclama el cuadro. Un grito que no se expresa, porque hay que guardar las fuerzas y aguantar para cargar el cadáver.

Y más que el grito, es el resuello de la respiración forzada lo que sale, acallado, a través de la manga de la camiseta. Más que el grito, es el esfuerzo lo que se escucha, y la mirada, esa mirada no-enteramente-descifrada del niño. Esa mirada, con todo y la expresión del rostro, es lo que, guiando el pulso del cuadro entero, dirige la escena, dirige el andar, pesado, hacia alguna parte. Al fin y al cabo, que la vida no tenga comienzo, y que tampoco tenga final, no evita que quepa pensar e imaginar en cada estación, cada estación de la vida, para que pueda ser placentera, o por lo menos —¡por lo menos!— decente y aguantable. Nosotros quizá no sepamos cuál es esa (próxima) estación, pero el niño, ese niño sí lo sabe. Hacia allá avanza, y Tamam nos invita a acompañarlo.

| RMM | CEM | @philocomplex |

___________

Carlos Eduardo Maldonado. Profesor titular de la Universidad del Rosario en Bogotá, Colombia. Autor de numerosos libros, artículos y ensayos sobre ciencia, política y cultura. Ph.D. en Filosofía por la Universidad Católica de Leuven (KU Leuven, Bélgica). Postdoctorados en Universidad de Cambridge, Universidad Católica de América (Washington, D. C.), Universidad de Pittsburgh.

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