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Vanguardias y camuflaje: la guerra como campo de pruebas del arte moderno
Abstract
Este artículo estudia la contribución de las primeras vanguardias artísticas del siglo XX a la ideación y puesta en práctica de técnicas de camuflaje militar durante la I Guerra Mundial. Se analizan así el origen cubista de los diseños de camuflaje mimético (o Disruptive pattern Material), el papel desempeñado por los artistas en la ideación de numerosos trompe l’oeil con fines bélicos y la condición del camoufleur como artista-soldado, un sujeto repartido entre lo funcional y lo estético. Todo ello sirve de fundamento para sustentar la tesis de que el contexto bélico sirvió como campo de pruebas de las técnicas, anhelos y formas del arte de las vanguardias históricas.
... It should also be kept in mind that, when the war of 1914 broke out, a large number of intellectuals took part in it and that there are numerous artists who enlisted (Dogliani, 2013); they are now "soldier-artists," subjects who are divided between the functional and the aesthetic (Baiges, 2016). Among them are Kirchner, Heckel, Dix, Marc, Macke, and Kokoschka, volunteers to defend the Reich. ...
... Man Ray's soldiers have depersonalized faces, reduced to a single tone-orange or blue-that turn them into abstract forces that oppose each other, and the same happens to the soldier without personality, who becomes only an instrument of war, by Bomberg (Arnaldo, 2008). Roberts exhibits a column of trees-sign of the industrialized death of the place and of the people who were in it (Arnaldo, 2008), and dilutes the soldiers on the landscape, at the same time that he does not recognize them as human beings, dehumanizes them, and destroys them as individuals (Baiges, 2016). ...
... Moreover, what it seeks is to confuse reality with fiction, to deceive and invisibilize, to deconstruct form, that is, to replace naturalistic mimicry with the deception of simulation. Well, the deforming skills of Cubist, Fauvist, and Vorticist painting served especially for these purposes (Baiges, 2016), but it was, above all, the development of artistic abstraction that made possible the technique of camouflage that was implemented in this contest for the first time 2 as a tactical resource on a large scale (Arnaldo, 2008). This causes-as Vallotton writes (1975: p. 306)-that "… drawing or painting "forces" would be much more profoundly true than reproducing the material effects, but these "forces" have no form and even less color"; moreover, it could be questioned if they really possess a soul. ...
This article argues that the construction of social imaginaries around homelessness, which usually focus on the individual variables involved in situations of exclusion, have given way to a broader understanding of homelessness as part of a process of residential exclusion of structural scope. However, both imaginaries, that of the individual causes and that of the structural causes of homelessness, struggle in social practice. Thus, we start from the idea that the different social imaginaries around homelessness are related, in a dialectic way, with the images, produced by different media, of situations in which life in public space is susceptible to be scrutinized in its daily life.
In this sense, our analysis of the photographs taken by the journalist Rafa Arjones in the city of Alicante (Spain), between 2002 and 2020, has as its main objectives (Meert and et al., 2004) [1] to reveal these relationships (Rubio-Martín, 2017) [2], to describe which imaginaries may be influencing the production of images on homele02222ssness and (Caeiro and y Gonçalves, 2015) [3] to reveal how the photographer reproduces or questions them throughout the period studied. To achieve these objectives, our analysis is based on a comprehensive Weberian sociology and a hermeneutic/interpretative methodology that attempts to reveal the inner meaning of the photographic images from the external ideological discourse.
The findings of our study point to a shift in the photographs analysed, from an approach to homelessness that highlights individual situations to one that seeks contradiction and a focus on the structural problem of access to housing. This is in line with wider social changes that may be occurring in imaginaries of homelessness.
... It should also be kept in mind that, when the war of 1914 broke out, a large number of intellectuals took part in it and that there are numerous artists who enlisted (Dogliani, 2013); they are now "soldier-artists," subjects who are divided between the functional and the aesthetic (Baiges, 2016). Among them are Kirchner, Heckel, Dix, Marc, Macke, and Kokoschka, volunteers to defend the Reich. ...
... Man Ray's soldiers have depersonalized faces, reduced to a single tone-orange or blue-that turn them into abstract forces that oppose each other, and the same happens to the soldier without personality, who becomes only an instrument of war, by Bomberg (Arnaldo, 2008). Roberts exhibits a column of trees-sign of the industrialized death of the place and of the people who were in it (Arnaldo, 2008), and dilutes the soldiers on the landscape, at the same time that he does not recognize them as human beings, dehumanizes them, and destroys them as individuals (Baiges, 2016). ...
... Moreover, what it seeks is to confuse reality with fiction, to deceive and invisibilize, to deconstruct form, that is, to replace naturalistic mimicry with the deception of simulation. Well, the deforming skills of Cubist, Fauvist, and Vorticist painting served especially for these purposes (Baiges, 2016), but it was, above all, the development of artistic abstraction that made possible the technique of camouflage that was implemented in this contest for the first time 2 as a tactical resource on a large scale (Arnaldo, 2008). This causes-as Vallotton writes (1975: p. 306)-that "… drawing or painting "forces" would be much more profoundly true than reproducing the material effects, but these "forces" have no form and even less color"; moreover, it could be questioned if they really possess a soul. ...
The article shows, first, how Sociology has approached the concepts of “hope” and “war” and how throughout the history of the discipline these terms have gone from being neglected to arousing considerable interest. Second, the paper analyzes how and why avant-garde artists understood the First World War as a motif of utopian hope to annihilate a civilization in crisis and to transform it through its aesthetic formalization. Third, the essay tries to find out whether that hope was preserved over time or, on the contrary, was soon dissolved as a result of the drama of the events. It is shown here that the savagery of the fighting dissolved all European values of modernity and progress, including artistic ones. In fact, theoretical and stylistic conceptions, aesthetic categories, ethical postulates, and artists’ aspirations for conscience to rule the world were blurred. For the artistic avant-garde, utopian promises of a better world broke down. Consequently, this obliges sociologists to pay more attention to both phenomena—that of the war and that of the avant-garde—and to seek a more objective and critical interpretation of modernity, calling for its actualization, and of Sociology itself.
Este artículo presenta una reflexión del impacto de lo tecnológico en el imaginario sociocultural, analizando una etapa muy fructífera en esta relación: la modernidad y el desarrollo de la vanguardia. Debido a la actual presencia de fórmulas híbridas entre lo humano y la tecnología, se establece una genealogía de este tema como una constante en la historia del individuo y, específicamente, en la citada época. Su revisión actual se presta a asimilar una continuidad en dicha línea.
Durante el desarrollo tecnológico de los siglos XIX-XX, el nuevo arte definió a la persona como un híbrido entre humano y máquina. La influencia de sus ficciones sobre lo maquinístico ha llegado hasta la actualidad, donde individuo, arte, ciencia y tecnología continúan interrelacionándose. Por ello, se presenta el estudio de las implicaciones de la vanguardia artística europea ante el paradigma iniciado en la modernidad, pudiendo contribuir a investigaciones que aborden esta temática.
World War I camouflage and its creators afford a rarely considered reversal of traditional understandings of Cubist strategies. Most inter-war and post-war critics ignored the war in their pursuit of a pure Modernist aesthetic formalism. The more recent generation of scholars who forged the New Art History in the 1980s recognized the impact of the war, but tended to focus on the anarchist opposition implicit in Pablo Picasso's papiers colls or the classicism advocated by artists embodying the rappel l'ordre in the aftermath of the war. The work of the so-called Salon Cubist artists remains at the margins of academic scrutiny. Andr Mare (18851932) was a member of this circle, which met in the Puteaux studio of the brothers Villon before the war. He was a central artist-designer of the Maison Cubiste installation at the 1912 Salon d'Automne. Whilst serving on the front line throughout World War I, Mare compiled ten sketchbooks, which provide a distinctive case study of the complexity of aesthetic and historical questions within Cubist representation, unscrutinized in the scholarship. In 1916, he joined the camoufleurs , a unit that pioneered the creation of mass-scale camouflage. They devised an extraordinary variety of forms of camouflage, from disguised gun emplacements to Mare's specialism, fake trees, which even appeared in Charlie Chaplin's 1918 film Shoulder Arms . Mare's sketch-books suggest a counter-narrative to the dominant heroic visions of Cubist form as an assertion of virile, politically oppositional Modernist creativity; it is rather a mode of combatants' strategies of psychic self-preservation. By obfuscating destruction rather than revelling in the catharsis of fragmentation, Mare's wartime oeuvre offers a sublimated but nonetheless central form of Cubist practice, rooted in decorative colour and intellectual detachment as a strategy to cope with the experiences of atrocity and survivors' guilt.
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