Skip to main content

Richard Serra: La Materia del Tiempo

Una de las funciones fundamentales del arte es la de hacer sensibles nuestras ideas. La inmaterialidad lingüística toma forma en la materia, ya sea en la etérica consistencia de una onda sonora o en la persistente realidad de una piedra. La escultura contemporánea ha transformado la tradición de experimentación de la forma en una experimentación directa del espacio. A su vez, la experiencia del espacio como luz ha dado paso a su vivencia como intuición básica para la conciencia de nuestra propia vida. Bien es cierto que los museos no son precisamente escenarios adecuados para la experiencia mística o estética, ya que las consideraciones sociales que implican cierran cualquier apertura de nuestra sensibilidad, y limitan la experiencia estética a una experiencia social generalizada en la que intervienen otros factores, pero Richard Serra ha conseguido minimizar tal ruido en el Guggenheim de Bilbao al presentar una obra que se en su colosal inmediatez y geométrica simplicidad envuelve al espectador en una interioridad no muy distinta a la que producen los jardines japoneses. Igual que en estos, el caminante se pierde en senderos curvilíneos que entretejen una geometría de luz que curva el espacio y a nuestra conciencia tras él, que entra en un tiempo de experiencia estética. Un espacio particularmente interesante es el que ha construido mediante torsiones elípticas que generan torsiones espirales, un esquema de los mismos movimientos gravitacionales que llevan a las galaxias elípticas a transformarse galaxias espirales bajo la mano alfarera de la fuerza de la gravedad. Estos principios generales de nuestra comprensión de la física-geometría son hechos sensibles, experimentables en nuestro desplazamiento corporal por un espacio museístico inerte. La obra de Serra  lleva la escultura hacia la música al devolver a la experiencia del espacio su forma más básica de proyección de la temporalidad.
Labels:

Comments

Post a Comment

Please write here your comments

Popular posts from this blog

Limen et Continuum

  Existence is Encounter. Meeting at the limen. In the limen, the masks disappear, that is, the basic intuitions of identities, such as the identity that I feel and think in relation to the tree that I see in front of me. The identity of the tree is a projection of mine: the unity of my process of perceiving the tree generates a mask in me, the ghost of a limited unity separated from everything else. The simplest form of intuitive understanding of masks and limen is given to us by numbers. Numbers intuitively express the liminal tension that is Existence. A little etymological note. Rythmos in Greek means flow. Arythmos (number) is what does not flow, what remains solidified. Numbers express the liminoid, and flow, rhythm, expresses the liminal. A rhythm becomes liminoid when we can trace patterns in it, that is, when we can construct masks of identities. Mathematics has spoken of flow using the Latin word “continuum”, the continuous. All modern science, since Leibni...
Post a Comment
Read more

What is Mythopoetics?

  The narrative grew in the process of being told, as myths always do. The Blog has become more labyrinthine over the years. It contains my Mythopoetics book and a few other things. For those who access these texts without knowing anything about Mythopoetics, I am going to post the introduction of the first part, so you can decide if you want to spend your precious time thinking about the identity narratives that we humans have developed over the years. throughout our eventful existence as a species. "Mythological narratives are the only intellectual activity that has been continuously practiced by human beings, a fact that makes them a unique tool for thinking synthetically our evolution as homo-sapiens. In this sense, they are the first valuation settings that humans have made about themselves and their environment, and as such, they have conditioned the ones that have come afterwards, both in form and content. Their communicative function places them at the basis o...
Post a Comment
Read more

An Epistemological Perspective of Individuation

For the ancient Romans, "Terminus" was the god of boundaries, represented as large stones used to divide and delimit fields. Festivals were held, called Terminalia, in which the stones that "generated" human space were sanctified. Our word "term" is the heir of that god, or better, it is that god incorporated into an everyday space, in our Lebenswelt or world of life. A philosophical term, whatever its semantic content, is the conceptual mark that we make by establishing a referential sign, it is the action of determining, of generating a reference in a mental space, a reference with which we make a sign correspond, or if we deal with a physical space, the correspondence with an object, be it a milestone, a stone, or an indicator sign. Since its beginnings, philosophy has used binary semantic terms as thinking tools, something that analytical psychology has also made good use of. One of the longest-running binary semantic terms for psychology...
Post a Comment
Read more