Protoacciones artísticas en la Valencia del primer franquismo(1939-1959): prácticas locales bajo el desconocimiento global
[EN] This article focuses on bringing to light and providing those actions with artistic value that were realized by artists and groups located in Valencia during the first stage of the Franco regime (1939`1959). Actions independently of their nature and singularity should be part of the universal h...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/107090 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/107090 |
| Access Level: | acceso abierto |
| Palabra clave: | Performance Happening Arte de acción Primer franquismo Arte valenciano Action art The first part of Franco&apos s dictatorship Valencia art |
| Sumario: | [EN] This article focuses on bringing to light and providing those actions with artistic value that were realized by artists and groups located in Valencia during the first stage of the Franco regime (1939`1959). Actions independently of their nature and singularity should be part of the universal history of performance and internal artistic history of the city of Valencia. The aim is to recover and analyze all possible practical experiences in the world of action art that, due to their formal non` definition and conceptual ignorance, were not perceived of as artistic by artists, art criticism and history of art. In this context, it is necessary to recover and stress action art per se in relation to the set of proposals central to the beginnings of Valencian modern art. In a more descriptive way, these artistic practices were gestures, attitudes, events and situations developed in rebel activist contexts, in the classrooms of the School of Fine Arts of San Carlos and its vicinity, in art exhibitions or public events, in artistic social circles, etc. In general, these actions were more of an eventual and adventurous nature due to the autarchic cultural stagnation of the Franco regime and had little to do with the tradition of performances of futurist, dadaist or constructivist artists. Finally, it is necessary to understand, emphasise, as well as claim the idiosyncrasy and artistic value of each instance of action art in the context of the local marginality of the city of Valencia, the national cultural isolation between the 1940s and 1950s, and the coincidence of premises for actions and events developed in the United States of America, Europe and Japan. |
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