Autor: Rubén Díaz de Corcuera

Rubén Díaz de Corcuera. Semiótico y artista. Doctor en Bellas Artes por la UPV-EHU (2016). Diplomado en estudios avanzados de semiología de la imagen artística (2007). Técnico en Infografía e Imagen Numérica por el Centro de Imagen y Nuevas Tecnologías de Vitoria (1993/1994). Máster en periodismo por el diario El Correo y la Universidad del País Vasco (1991). Licenciado en Bellas Artes por la Universidad del País Vasco (1982/1987).

El suicidio (o la muerte) de Reinhardt.

The narrator questions the widely-held perception of art historian J as an artistic genius, as well as the assertion that American painter Ad Reinhardt, famous for opposing evocative, biographical art, committed suicide due to the art world’s misunderstanding of his works. Despite his extensive search, the narrator fails to find proof of Reinhardt’s suicide, which contradicts J’s claim; instead finding evidence that indicates Reinhardt died of a heart attack at age 54. The narrator recognizes the irony that Reinhardt’s supposed suicide would add a tragic layer to his life story, the exact element he fought against in art.

Reseña del libro «Los estados de la materia. Relatos de artistas trabajando» de Arturo / fito Rodríguez.

«Materia» discusses the various characteristics of matter, including physical properties, energy, dark matter, and states like solid, liquid, and gas. It draws parallels between these states and the psychological processes and styles of different artists. The text also includes a critique of the contemporary art system, represented by artists portrayed in various states of success and crisis. The literary style of the narrative, characterized by intimate digressions, echoes these diverse elements.

La pieza número trece.

In 2019, an artist faced the tragic loss of his daughter, Irene. In the depths of his grief, he found it impossible to create. However, the outbreak of the pandemic propelled him back into his work sphere with an art exhibition focused on the pandemic and lockdown. The artist used his grief as a source of inspiration, creating a series of pieces using mostly black elements, including a painting covered with Irene’s leftover perfumes, a display with objects she created, and various pieces directly referencing her death. This tale underlines the potential of art as a form for cathartic expression, revealing the fusion of personal pain and creative expression.

Civiles croatas asesinados por un comando bosnio. Simeón Sainz.

No hay real. Todo es representación.

Simeón Saiz’s artwork depicts Croatian civilians murdered by a Bosnian commando, a scene derived from a television news report. His painting is a representation of a video frame showing a morgue filled with shrouded bodies lying in disarray, embodying the grim reality of death. This chain of interwoven representations serves to safely distance viewers from the disturbingly raw reality of the violence and its severe consequences in a way that the video did not.

Sobre el contenido de la obra de arte.

The content of an artwork is a complex topic, being shaped by diverse interpretations over time and influenced by various cultural, temporal, and individual factors. Content, or meaning, is not a tangible part of the artwork, but something intelligible ascribed to its expression or represented object. Interpretation of the content varies among artists, critics, historians, and viewers, depending on their cultural and semantic fields. Furthermore, the context, deeply tied to the interpretation, may expand the possible content of an artwork.

Benjamin Walter

¿Es el aura una superstición? Algunas consideraciones sobre el concepto de aura de W. Benjamin.

Marxist philosopher, W. Benjamin, argued the distinction between original artworks and their copies with the term ‘aura’. This concept groups the irreproducible uniqueness and authenticity inherent in original art. Benjamin suggests that technological reproduction atrophies the original’s aura. Yet, there’s a contradiction if the aura is tied to uniqueness, as mass reproduction would reduce the copy’s aura rather than affect the original. The aura remains intact in the original, despite its copies. The debate of the aura being objective or subjective continues, as it significantly impacts how artwork is perceived.