(english version)


This proposal was born with the intention of developing a reflection on a set of quotes about art, its history, the structures that support it and its social size.

A proposal that invites reflection both in relation to cultural entities and in the individual field, in a participatory way, trying to visualize and make conscious the view that each one has on an art that illuminates history, the world and all of us.

Ten reflections around art

The project places ten reflections on art in various places and not places of art and culture, which, as a play on words, weave a network in the form of virtual interventions. These are ten legends that start from the idea "history of art without names", and are inscribed in 10 phylacteries of 10 basic colors.

These virtual interventions can be superimposed on reality from "augmented reality" technology, with the tool of a smartphone or a tablet. For this, you have to download the application "Layar" for free from the App store or from Android market and access the layer "historiadelartesinnombres".

It is a project in process. In principle, the ten interventions that launch the proposal can be seen in Barcelona, ​​Girona, Madrid, Manresa, Tarragona, Valencia, Weimar, Kassel and now in Cerdanyola on the occasion of the exhibition "Del vell al nou" Art of Cerdanyola. Interventions will extend to other European cities and geographies over time.

This website is only an information platform where the proposal is explained, where you can access the location of the various virtual interventions and where you can explain how to access the "augmented reality" application "layar".

It is with your participation that this proposal acquires meaning: how Miró said of painting, it is not so much the image, if not that which the image extends through the space.

Origin of the idea

... "To the history of Greek art built on the news of ancient sources (especially Pliny the Elder) and centered on the names of the artists, another story, the Kunstgeschite ohne Namen art with no name), the history of the original pieces, beginning with the anonymous masters of the Kuroi and Korori who were accumulating in the museums of Athens and all over Europe.

(from reading an art history book that I have not been able to rescue from oblivion)

Vasari gathers the witness of Pliny the Elder when explaining a history of art from the artists. The autonomy of art begins to develop with the autonomy of the creators, and so Vasari performs his well-known work according to this criterion.

But already in ancient Greece, art was also known by its authors, by the schools they generated, by the places from which it emerged, even by style, by technique and by formal aspects (remember the representation of the dresses: the wet cloth modeled on the body of the venus protruding from the water or the dynamic force of the dress modeled by the wind of Athena Niké.)

But beyond that, throughout all known and unknown history, there is what could be called a history of anonymous art, which is perhaps the majority of art that has existed and, to a great extent, disappeared.

To put it in some way, everything that comes to our eyes condenses everything that has been. They are the visible remains of a great archaeological site still alive where we continue excavating to expose our memory.

Indeed, the volume of art that we do not know is of a magnitude that gives vertigo.

And every individual who is involved in the art view, albeit unconsciously, bears this weight, or this responsibility, or this privilege, or how one wants to be dubbed what, as an involuntary (if not inevitable) form of this legacy, we are.

Possibly the perception of this magnitude of art can explain the will of art history to make known, order or structure such an enormous cause, and it may be that for what the world does people, that one of the first forms of whether it be in artists or creators. Much more recent, the history of art has already been established in a stable and recognized way, other historians like Wölffin begin to model it without the artists, based on the forms, the styles, the places, all those aspects in which the art can be distinguished or grouped beyond the figure of the artist. It was he who coined the concept of "Kunstgeschite ohne Namen" (history of art without names).

But further away from the figure of the artist on which Vasari is based, or the formalisms of Wöfflin's art, stands Aby Warburg, with his peculiar and surprising works on a history of art flowing like an underground stream that connects the past and the present of the art in the same plane. Thus, that magnitude of the art that I mentioned before, and to which we all belong, is drawing a network of unsuspected influences and links, which demonstrate the complexity and at the same time the transparency that the images convey in their eyes. When we see a Boticcelli painting, we can transport it to ancient Greece, or when the Pueblo Indians perform the serpent ritual, they are drawing a link to ancient Western rituals.

It is no longer a history of art but a history of universal culture, in which the limits of the different parts in which the study of art is structured are diluted and the view of art becomes transparent.

It is precisely this look, your gaze, that ends up closing the circle of a history of art without names, which aims to rethink the links and structures of art, in full freedom.

That's why this project, that's why these ten quotes that, as in a play of words and associations, offer you to participate and reflect on art, history and yourself.