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Lambarri, L., (2021). Cauce. Tras Pasar, Tras Tocar, Tras Mutar. Paisaje que es pasaje [Pontificia Universidad Católica del Perú]. http://hdl.handle.net/20.500.12404/20526
Lambarri, L., Cauce. Tras Pasar, Tras Tocar, Tras Mutar. Paisaje que es pasaje []. PE: Pontificia Universidad Católica del Perú; 2021. http://hdl.handle.net/20.500.12404/20526
@misc{renati/534689,
title = "Cauce. Tras Pasar, Tras Tocar, Tras Mutar. Paisaje que es pasaje",
author = "Lambarri Barberis, Lucía",
publisher = "Pontificia Universidad Católica del Perú",
year = "2021"
}
Título: Cauce. Tras Pasar, Tras Tocar, Tras Mutar. Paisaje que es pasaje
Autor(es): Lambarri Barberis, Lucía
Asesor(es): Tokeshi Namizato, Eduardo
Palabras clave: Pintura de paisajes; Naturaleza en el arte; Psicoanálisis y arte
Campo OCDE: https://purl.org/pe-repo/ocde/ford#6.04.04
Fecha de publicación: 1-oct-2021
Institución: Pontificia Universidad Católica del Perú
Resumen: Este trabajo narra el proceso de concepción y ejecución de mi propuesta de
fin de carrera: Cauce, una obra procesual contenedora simbólica y material, a
través del dibujo, de mi existencia metaforizada en un río. Ésta atravesó distintas
etapas y conforme su recorrido traspasó, trastocó y transmutó en su interacción
con el territorio. Tras Pasar vino a ser el recorrido mismo, el acto de caminar como
parte de la obra. Tras Tocar, el acto de “sentir” el territorio, verse afectado por
él, del mismo modo en que éste es afectado. Tras Mutar, con la transformación
y permeabilidad al cambio. Para su ejecución, se recurrió a medios como la
instalación, la fotografía y las intervenciones directas en el entorno. Se trata de
una investigación que se realiza en y a través de la práctica artística. Hundiendo
sus raíces en una profunda inquietud existencial, revisa conceptos como belleza,
muerte, vacío, naturaleza y paisaje a través de las meditaciones de François
Cheng, la concepción organicista del universo del pensamiento chino y la
correlación con su pintura de paisaje, la teoría del arte como aquello que ordena el
vacío del psicoanálisis lacaniano y una revisión general del concepto y la historia
del paisaje en Occidente. Asimismo, analiza y describe obras precedentes y
fundamentales para Cauce, para finalmente desarrollarlo ampliamente. El eje
central de la propuesta, muestra que los acontecimientos del exterior, tienen
respuesta inmediata y paralela en el mundo interior del individuo. Así, se entabla
un diálogo entre un “paisaje exterior” y un “paisaje interior”, el cual es entendido
como aquellas emociones desbordadas y cuestionamientos materializados a
través del dibujo. Resalta también, la concepción del vacío como aquel “posible
lugar” para que el arte pueda ser una eficaz herramienta para lidiar con lo
indecible de la existencia.
This work narrates the process of conception and accomplishment of my degree´s final project: Cauce, a work-in-progress artwork which contains in a symbolic and material way, through drawing, my existence metaphorized in a river. Cauce went through different stages and as its journey transgressed*, disrupted* and transmuted* in its interaction with the territory. Transgressing o After passing* was the journey itself, the act of walking as part of the artwork. Disrupted o After touching*, the act of “feeling” the territory, being affected by it, in the same way that it is affected. Transmuted or After changing*, with transformation and permeability to change. Means such as installation, photography and direct interventions in the environment were also used for its execution. Moreover, this proposal is a research that is carried out in and through artistic practice. Sinking its roots in a deep existential concern, it revises concepts such as beauty, death, void, nature and landscape through the meditations of François Cheng, the organicist conception of the universe of Chinese thought and its correlation with their landscape painting, the theory of “art as that which orders the void” of Lacanian psychoanalysis and a broad review of the concept and history of landscape in the West. In the same way, it analyses and describes previous and fundamental works for Cauce, to finally explain it widely. The central axis of the proposal shows that external events have an immediate and parallel response in the individual’s inner world. Thus, a dialogue is established between an “exterior landscape” and an “interior landscape”, which is understood as those overflowing emotions and questions materialized through drawing. It also highlights the conception of void as that “possible place” so that art can be an effective tool to deal with the unknowns of existence.
This work narrates the process of conception and accomplishment of my degree´s final project: Cauce, a work-in-progress artwork which contains in a symbolic and material way, through drawing, my existence metaphorized in a river. Cauce went through different stages and as its journey transgressed*, disrupted* and transmuted* in its interaction with the territory. Transgressing o After passing* was the journey itself, the act of walking as part of the artwork. Disrupted o After touching*, the act of “feeling” the territory, being affected by it, in the same way that it is affected. Transmuted or After changing*, with transformation and permeability to change. Means such as installation, photography and direct interventions in the environment were also used for its execution. Moreover, this proposal is a research that is carried out in and through artistic practice. Sinking its roots in a deep existential concern, it revises concepts such as beauty, death, void, nature and landscape through the meditations of François Cheng, the organicist conception of the universe of Chinese thought and its correlation with their landscape painting, the theory of “art as that which orders the void” of Lacanian psychoanalysis and a broad review of the concept and history of landscape in the West. In the same way, it analyses and describes previous and fundamental works for Cauce, to finally explain it widely. The central axis of the proposal shows that external events have an immediate and parallel response in the individual’s inner world. Thus, a dialogue is established between an “exterior landscape” and an “interior landscape”, which is understood as those overflowing emotions and questions materialized through drawing. It also highlights the conception of void as that “possible place” so that art can be an effective tool to deal with the unknowns of existence.
Enlace al repositorio: http://hdl.handle.net/20.500.12404/20526
Disciplina académico-profesional: Arte con mención en Pintura
Institución que otorga el grado o título: Pontificia Universidad Católica del Perú. Facultad de Arte y Diseño
Grado o título: Licenciado en Arte con mención en Pintura
Jurado: Migliori Figueroa, Norma Giuliana; Tokeshi Namizato, Eduardo; Jaime Carbonel, Alejandro; Oblitas Jordán, Raura Raquel; Tabja Belloso, Gianine
Fecha de registro: 1-oct-2021
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