«Lo maravilloso» como categoría estética en la obra pictórica de Marcelo Bordese – María Eugenia Piñero

«Lo maravilloso» como categoría estética en la obra pictórica de Marcelo Bordese – María Eugenia Piñero

Lo maravilloso como categoría estética en la obra pictórica de Marcelo Bordese

 

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“Se dice a menudo que todas las maravillas del arte palidecen en comparación con las maravillas naturales. En términos de experiencia estética, ninguna obra de arte puede siquiera compararse a una puesta de sol de belleza promedio. Y, por supuesto, el lado sublime de la naturaleza y la política puede ser totalmente experimentado sólo al atestiguar una catástrofe natural real, una revolución o la guerra- no al leer una novela, o al mirar una pintura”.

Colocarse frente a la obra del artista argentino Marcelo Bordese nos ofrece una doble posibilidad: la de contemplación y la de admiración. Ambas, si se quiere, han de estar presentes para que la realización de la experiencia estética sea completa, pues el espíritu del hombre abandona [en el arte] su secreta habitación interior a la vez que se incorpora a la realidad sensible. Y este es el intersticio en que se deja apreciar el fenómeno de lo maravilloso: como creación y como descubrimiento. Pero también como impulso de trascender los límites individuales a través del asombro.

Durante el siglo XIII el medioevo cristiano se rige conforme a una clasificación de lo maravilloso que identificaba- como un grupo particular- a los ‘marginados imaginarios’, entre los que agrupaban a los seres propios de las maravillas geográficas, los monstruos y el hombre salvaje; de modo tal que lo maravilloso como lo que presupone una “extranjería” era constitutivo en la creación de los mitos y leyendas. En el mito el mundo de lo maravilloso adquiere una organización coherente supeditada al espíritu creador del hombre, así que, si pensamos que lo maravilloso en la Edad Media ha formado parte del proceso de exteriorización del espíritu religioso teocéntrico, en la Modernidad dicha exteriorización cobra sentido por oposición a un sujeto consciente sobre el que se forja el espíritu científico y como fuente de sus sentimientos y creencias. En otras palabras, a partir del siglo XVIII se instala una retórica capaz de inducir al éxtasis, capaz de elevar nuestras almas a las más altas cimas, a la manera de un rayo [que] todo lo turbe, que no sólo persuada al espíritu, sino que lo subyugue (überwältigt); está retórica dio lugar, en el siglo XIX, a la idea romántica del arte liberado de las ataduras del intelecto, hijo de la pasión y de la inspiración. A partir de las filosofías que anticipaban la muerte de Dios (lo que en la cristiandad medieval se conocía como el milenarismo y la llegada del Anticristo), un arte en el que lo maravilloso va acompañado de asombro es siempre superior a la persuasión y a lo que es agradable.

Asistimos a partir de entonces a una creciente emancipación de los parámetros éticos sobre lo estético y lo fáctico que ha conducido gradualmente a una fe en el desarrollo de la ciencia, dando por resultado nuevas sensibilidades en que lo maravilloso adquiere validez universal, se fija en símbolos y se convierte en comunicable. Lo maravilloso, desde esta óptica, ya no excluye la razón, pero en el momento en que surge aquélla queda suspendida, el espíritu se conmueve como totalidad confundiéndose en apasionado contacto con el hecho maravilloso.

Al observar las pinturas Vampiros genitales (2002) y Evangelion (2002), entre otras, podemos apreciar que una necesidad de exteriorización aparece allí como marca indeleble que se manifiesta a través de lo sagrado del falo, como órgano biológico y como fenómeno mítico.

 

 

Vampiros genitales [2002]

Siguiendo con el ejemplo, el falo, que es representado por el artista de un modo desproporcional con respecto al resto de las partes del cuerpo, se eleva a la categoría de dato iconográfico que intenta ser la manifestación de un movimiento de interiorización de la imagen conforme a un modelo exterior a ella. Sin embargo, ¿puede identificarse la imagen con el modelo?

 

 

Retomaremos luego esta pregunta, pues no podrá resolverse hasta que no logremos desambiguar los múltiples significados que históricamente le han sido dado al concepto de ‘lo maravilloso’; y este proceso de desambiguación se logra ofreciendo una diferenciación entre el fenómeno de lo maravilloso y lo fantástico, lo milagroso, lo sobrenatural, etc. De modo que, precisar una definición de lo maravilloso es dar cuenta, al mismo tiempo, cómo una representación artística ha de ser una huella en una determinada perspectiva histórica. Por ello, antes de entrar en el terreno de lo maravilloso es indispensable concebir cómo este se ve reflejado, o más bien, surge de la relación entre lo sagrado y lo mitológico, lo biológico y lo político-social; pues, es en la tensión entre la interiorización/exteriorización, entre lo consciente/ inconsciente, entre lo subjetivo/objetivo, que debemos mantener nuestra mirada hacia un arte que rompe, destruye y martilla toda dicotomía. Desde esta perspectiva nos mantenemos en la condicional afirmación que expresa que si reconocemos un arte en Bordese no lo es en cuanto a lo que reflejan sus objetos, sino a la relación que éstos mantienen entre sí y con la vida. Y esta relación se da en la experiencia estética.

El catedrático Demetrio Estébanez Calderón en el Breve diccionario de términos literarios, reconoce en lo maravilloso un mundo fantástico que vincula a fenómenos que ocurren al margen o transgreden las leyes que gobiernan en la naturaleza y en el hombre. Pero lo que resulta aún más interesante, a propósito de nuestro análisis, es que concibe este fenómeno como una categoría estética, al atribuirle el momento embrionario en que surgen los mitos. Siguiendo con esta interpretación, lo maravilloso es retomado por la cultura medieval occidental y oriental, e incluso más cercano a nuestro presente por el espíritu del Romanticismo, llegando hasta nuestros días; en todos estos períodos el fenómeno de lo maravilloso se ha visto envuelto en un ‘proceso de estetización’ propia del ser humano.

Jean Marie-Schaeffer, desde una orientación filosófica, interpreta que se debe ser sensible a la propiedad definitoria del hombre como ser biológico que no tiene fundamento trascendental sino una genealogía y una historia. Pero el dato que nos parece relevante es que un esteticismo antropológico resulta contrario al ideal estético romántico, en sentido amplio, pues para Schaeffer la visión romantizada del mundo, a la cual la estética nietzscheana de Die Geburt der Tragödie adhiere al concebir el arte (dionisíaco) como verdad accesible tras el corrimiento del velo de Maya, en realidad se produce mediante un revocamiento paradójico: el arte para Friedrich Nietzsche revelaría el fondo del ser, fondo que simplemente ahora es del orden de la ficción cósmica. Y esta observación no es menor, si logramos atender a la cuestión de que es el filósofo alemán quien, al deconstruir la metafísica occidental cristiana, desde un comienzo, lleva la metafísica a un orden donde la prioridad no está puesta en lo inteligible sino en lo sensible. De allí que, según Dolores Castrillo y Francisco José Martínez, “la metafísica […] devino estética con Nietzsche”.

Pero lo que más interesa a nuestro propósito es considerar que lo que vuelve a entrar en escena a partir de la estética nietzscheana es lo que Schaeffer reconoce como la necesidad de plantear un antropologismo en el arte, es decir, que la biología y la cultura no son dos dimensiones ontológicas separadas en el ser humano, y allí es que Nietzsche ha logrado habilitar, en cuanto crítico de la cultura, un modo de comprender el arte y el mundo desde la óptica de la vida, es decir, del cuerpo como motor de la vida Y sobre esta línea de análisis el arte contemporáneo contribuye, cada vez más, a un replanteamiento de las categorías estéticas mediante las cuales el arte era pensado. Y desde esta perspectiva filosófica pretendemos recuperar una noción que pocas veces se ha tenido en cuenta como categoría estética en los estudios sobre el arte. Una noción que surge en el seno de los análisis literarios, pero que, después de Leonardo Da Vinci, y como legado romántico, logra manifestarse y sobrevivir a nuestro presente. El arte en los lienzos del artista Marcelo Bordese puede ser interpretado como un locus horridus donde lo maravilloso mismo abandona el espacio limitado de lo divino (otorgado en la Edad Media) para recobrar toda la fuerza de su herencia mítica y sagrada.

Un repaso un tanto breve pero aclaratorio nos puede servir para echar luz sobre el sentido que adquiere lo maravilloso en la obra pictórica de Marcelo Bordese. Comencemos por destacar la solvencia de la raíz etimológica de la palabra Mirabilia, con su raíz mir (miroir, mirari) se relaciona con lo visual, con la mirada, pero no sólo con la de los ojos, sino también a las metáforas visuales. No obstante, lo que nos interesa rescatar aquí es que curiosamente en la lengua germánica es en torno a la palabra Wunder (según el uso que de ella hace el filósofo Friedrich Nietzsche) donde se construirá el ámbito de lo maravilloso como aquello que no puede desligarse de lo que más adelante mencionaremos como Unheimlich y lo ominoso (Das Unheimlich). Conforme al espíritu que se quiere manifestar aquí, atinentes son las palabras expresadas por Nietzsche en Die Geburt der Tragödie (1871),

«In Wahrheit aber ist jener Held der leidende Dionysus der Mysterien, jener die Leiden der Individuation an sich erfahrende Gott, von dem wundervolle Mythen erzählen, wie er als Knabe von den Titanen zerstückelt worden sei und nun in diesem Zustande als Zagreus verehrt werde: wobei angedeutet wird, dass diese Zerstückelung, das eigentlich dionysische Leiden , gleich einer Umwandlung in Luft, Wasser, Erde und Feuer sei, dass wir also den Zustand der Individuation als den Quell und Urgrund alles Leidens, als etwas an sich Verwerfliches, zu betrachten hätten.»

Pero, más llamativamente resuena el significado de Wundervoll en La ciencia jovial (1882), donde Nietzsche vuelve a utilizar la palabra:

«¡Qué maravilloso y nuevo y a la vez qué terrible e irónico me siento con mi conocimiento acerca de la existencia! He descubierto para mí que la vieja humanidad y animalidad, que incluso la totalidad de la humanidad primitiva y el pasado de todos los seres sensibles sigue fabulando en mí, amando, odiando, extrayendo conclusiones- de repente, me he despertado en medio de este sueño, pero sólo para tomar conciencia de que ciertamente sueño y debo seguir soñando: del mismo modo que el sonámbulo debe seguir soñando para no caer al vacío»

En ambos fragmentos (uno del período de juventud, y del tardío el otro) el pensador alemán vincula la palabra significada como maravilloso con lo misterioso (doctrinas herméticas), como es en el caso de El nacimiento de la tragedia, y con lo desconocido, cuando alude al descubrimiento de un conocimiento hasta ahora no sabido, en La ciencia jovial. En uno y otro caso el conocimiento se revela como condición subjetiva allí donde hay una carencia o falta que viene a ser llenada por el mito,

“el mito parece querer susurrarnos que la sabiduría, y precisamente la sabiduría dionisíaca, es una atrocidad contra naturaleza, que quien con su saber precipita a la naturaleza en el abismo de la aniquilación, ése tiene que experimentar también en sí mismo la disolución de la naturaleza”

Y no es arbitraria la relación pues a ella se ha referido Aldo Pellegrini en su libro La conquista de lo maravilloso, en el cual manifiesta que la categoría de lo maravilloso es inherente al sujeto, pues en ella no permanecemos indiferentes a la obra. Ante lo maravilloso

“debe sentir el espectador al contemplarlo un movimiento del ánimo: la admiración. Pero ésta no representa una simple apreciación intelectual, no es una manifestación puramente valorativa; debe consistir en una impresión profunda que abarque la totalidad del espíritu, un suspenso del ánimo, que resulta inundado por lo que contempla, un estado, en fin, de completa exaltación. Esta agitada presencia interior da a lo maravilloso su verdadero carácter; lo meramente pintoresco, lo inesperado, lo nuevo, cuando no poseen dicha característica, no se incluyen en el dominio de lo maravilloso”

Sabemos que desde sus raíces la palabra mirabilia evoca un universo ingenuo y por momentos deslumbrante y, por tanto, lo maravilloso se refiere a la apreciación de lo sobrenatural, lo que puede traducirse, cualquiera sea su mirada, en cómo resuelve su relación con lo «otro». Y, en este sentido, nos apresta a una experiencia de “inquietante extrañeza”, la relación peculiar entre lo extraño y lo familiar (heim). En un movimiento tensional y de desplazamiento entre lo no familiar- lo otro- y lo familiar, es donde se gesta el misterio de la creación artística, según lo expresa el escritor austríaco Stefan Zweig, pues:

“Sólo lo raro ensancha nuestros sentidos, sólo ante el estremecimiento crece nuestra sensibilidad”

Siendo que lo maravilloso, como lo ha entendido Aldo Pellegrini, requiere de la exaltación total de las potencias del espíritu, anuncia que es un atributo exclusivo del hombre, pues “en ella reside su capacidad de crear y de descubrir, de penetrar la realidad y de fecundarla”. Desde esta perspectiva, lo maravilloso ha de quedar circunscrito a un movimiento que oscila entre el Wundervoll nietzscheano y el Unheimlich freudiano, siendo este movimiento de lo maravilloso y lo desconocido (o extrañamente familiar) el desarrollo de un impulso vital sobre el cual toda cultura encuentre su justificación en el arte,

“lo desconocido, por su carácter de novedad, tiene una fuerza de sorpresa que a primera vista puede inducir a confusión […]por este hecho se explica la antigua tendencia a conservar secreto el descubrimiento de lo maravilloso (doctrinas y sectas herméticas), para mantenerlo alejado de la contaminación de aquellos enemigos que tienden siempre a petrificarlo, a vaciarlo de contenido”

 

 

 

 

Si nos quedamos con el parentesco entre el concepto nietzscheano de Wundervoll y el freudiano significado de Unheimlich, donde el prefijo es la marca de una represión, entonces estamos ante un concepto de lo maravilloso en el sentido de aquello que “participa oscuramente en cierta clase de revelación de lo que tan solo percibimos los detalles”. Lo maravilloso posee entonces un carácter numinoso para utilizar el famoso término de Rudolph Otto en su libro sobre lo santo: “del objeto numinoso solo se puede dar una idea por el peculiar reflejo sentimental que provoca en el ánimo. Así, pues, es aquello que aprehende y conmueve el ánimo con tal o cual tonalidad” Y aquí nos acercamos al sentido que queremos dar a esta noción al narrar la experiencia estética que produce la obra de Marcelo Bordese.

En la muestra compartida Unheimlich (2011), el artista nos sorprende con una capacidad de transitar lo desconocido, pero sobre todo territorios donde el límite roza la incomodidad, “sobre la esencia de lo vital que siglos de represión han sumido en la oscuridad” y que sólo el artista arriesga hacerlo.

Por ello es interesante la observación de la fuerza que adquiere el Unheimlich freudiano; pues desde la perspectiva del psicoanalista lo que causa temor o angustia- lo inquietante- y las situaciones que pudieran provocar este sentimiento (el doble, la muerte, las fuerzas ocultas, etc.) responden a una de las acepciones del concepto Unheimlich, siendo que, como expresa Pellegrini,

“el artista penetra en las comarcas inexploradas, en esa selva virgen del espíritu donde habitan los más terribles engendros del terror y de la angustia. Es la zona de todos los riesgos. […]Así penetra en la comarca del amor hasta su último límite para descubrir su apasionante misterio, allí donde el placer físico y la unción religiosa se encuentran, allí donde se produce la metamorfosis de la carne en espíritu […]”

Se pone de relieve que, como categoría estética, lo maravilloso rompe con patrones que no son sólo del orden de lo político, lo económico y lo cultural, sino, y, sobre todo, con las propias delimitaciones constitutivas de lo humano y las experiencias que lo diferencian de los demás seres que habitan la Tierra, pero, sobre todo, es algo a lo que el hombre cotidiano se evade. Esta es la razón por la cual el arte, más que cualquier otro sistema, tiene la tendencia a consentir la penetración de elementos extraños”.

Un tema recurrente en las pinturas y dibujos de Bordese es el de la duplicidad. Encontramos vestigios de esta temática en la literatura romántica desde la cual se introduce el motivo del doble (doppelgänger) como una proyección problemática del propio «yo» y como un modelo de una realidad «otra» que convive con la auténtica, ambas siempre en tensión. Una característica de lo maravilloso es que las imprecisiones y confusiones espacio-temporales son las que generan una atmósfera de irrealidad. La idea del doble es la presencia insoportable de un <ser otro> identificado con lo ominoso y lo destructivo; pero a la vez con lo que somos y lo que imaginamos ser. Asimismo, para el romanticismo, una de las preocupaciones esenciales fue el cosmos del «yo», la visión hacia uno mismo implicaba la concepción de una alteridad con todo el poder de su dualismo. por ello se le confundió con lo sobrenatural; pero lo maravilloso quiere ser lo verdaderamente natural, por oposición a la realidad convencional que es tan sólo lo falsamente natural.

La conquista de lo maravilloso se convierte en definitiva en la conquista de la realidad, pero de la realidad absoluta y última. Una morfología barroca (lo barroco es lo deforme y extraño) cuyos reductos históricos ponen de manifiesto las maravillas con que los siglos XVI y XVII sorprendieron al hombre, fue el resultado del desgaste de la verticalidad gótica que se alzaba hacia el cielo, a favor de una mirada centrada en los arcanos de la tierra y el universo.

 

 

 

Retomamos entonces la importancia de lo maravilloso como momento embrionario en que surgen los mitos; lo incita a superar el curso ordinario de las cosas y buscar lo extraordinario, en suma, deformar las formas habituales. La obra bordesiana abunda en crucifixiones y seres siameses en los que el pintor encuentra registro del dolor, el absurdo y el desamparo.

En Siameses así como en Carne Medieval, Marcelo Bordese juega con la lógica de la destrucción-construcción y la presenta como “elegante fatalidad de las modificaciones”. En la exposición Contranatura realizada en Julio de 2000 en el Centro Cultural Recoleta, el artista insiste en que su arte debe ser considerado como símbolo de desfiguración y vivenciado en silencio y con humor que, más que provocar la risa, se gesta en la mueca; de allí que toda esta simbólica encuentre su sentido en la experiencia estética que oscila entre las anatomías experimentales y el salitre de su disgusto existencial:

“Enfrentado a la desdivinización del mundo, el artista no tiene otra salida que hacer valer su ingenio y astucia. Es la salida a través del humor […] en el poder de asociar las cosas más alejadas de una manera bizarra e inesperada, es donde el mundo se descompone y disuelve mediante ocurrencias subjetivas, ideas repentinas, modos chocantes de expresión”.

Si bien hasta ahora nombramos obras que son ejemplo de los vestigios de esta conquista de la realidad a través de lo ominoso, también hay otros topos en los que lo maravilloso queda envuelto en una atmósfera familiarmente incómoda. En la mayoría de las obras, lo erótico, lo sexual, la guerra, el terror, representan mecanismos de lo inconsciente que el arte hace manifiesto a través de lo que Aldo Pellegrini denomina como “la necesidad de trascender”, tal que cuando

“toma el camino de la creación surge el arte, donde lo maravilloso ha encontrado siempre refugio seguro, donde se expresa directamente y en su máxima pureza”

El sueño que no se realiza no contiene lo maravilloso. Este nace en el momento en que el sueño se incorpora a la realidad, se hace concreto y puede ser aprehendido por otros. Al trascender los límites del individuo lo maravilloso nace para el mundo. Representa la necesidad de retornar a la sustancia madre de las antiguas cosmogonías. Así surgen las leyendas y los mitos en los que se expresa un conocimiento arcano. Siempre lo fantástico, cuando participa de lo maravilloso aspira a exteriorizarse en el mundo real, a mezclarse con él.

Somos maravillas de nuestro conocimiento, se decía en el medioevo: Mirabilia vero dicimus quae nostrae cognitioni nos subjacent etiam cum sini naturalia. Quizá sea la apertura a ese otro de la razón, al instinto de fuerzas primitivas que irrumpen como un extraño en el hombre moderno, lo que desembocó en la muestra El gran disparate (2006). En Golosina de guerra, Los desastres de la guerra, y una obra sin clasificar (presuntamente denominada por su autor Horrore, que posiblemente es parte de un conjunto al que pertenece la obra La mosca) Bordese dispara al goyesco epitafio “el sueño de la razón engendra monstruos”, y nos hace reflexionar sobre aquello que Nietzsche dejaba como interrogante en el escrito póstumo Sobre verdad y sentido en sentido extramoral:

“En realidad, ¿qué sabe el hombre de sí mismo? ¿Sería capaz de percibirse a sí mismo, aunque sólo fuese por una vez, como si estuviese tendido en una vitrina iluminada? ¿Acaso no le oculta la naturaleza la mayor parte de las cosas, incluso su propio cuerpo, de modo que, al margen de las circunvoluciones de sus intestinos, del rápido flujo de su circulación sanguínea, de las complejas vibraciones de sus fibras, quede desterrado y enredado en una conciencia soberbia e ilusa? Ella ha tirado la llave, y ¡ay de la funesta curiosidad que pudiese mirar fuera a través de una hendidura del cuarto de la conciencia y vislumbrase entonces que el hombre descansa sobre la crueldad, la codicia, la insaciabilidad, el asesinato, en la indiferencia de su ignorancia y, por así decirlo, pendiente en sus sueños del lomo de un tigre! ¿De dónde procede en el mundo entero, en esta constelación, el impulso hacia la verdad?”

 

 

Los desastres de la guerra [2005]

 

 

Golosinas de guerra [2007]

El romanticismo puso fin a la tendencia materialista del siglo de las luces, devolviéndole a lo maravilloso algo de su carácter sagrado al mismo tiempo que le añadía una dimensión poética que los acercaba a los primitivos. La magia, desde luego, es parte de ese engranaje que mueve a la imaginación a crear un lenguaje que permite darle una tonalidad específica a lo maravilloso. De ahí entonces que los cuentos infantiles, de hadas, los relatos de mitos y de leyendas, la imaginería hermética, despecho de las protestas racionalistas, todo transcurre hoy en día como si determinadas obras poéticas y pictóricas relativamente recientes dispusieran de un poder sobre los espíritus que excede en todos los sentidos al de la obra de arte.

 

 

 

 

“El carácter agitador de estas obras, así como el interrogante y la solicitación de que son objeto es suficiente para respaldar la idea de que parte de ella es un mito y de que no depende de nosotros ni definirlo ni coordinarlo”

 

 

 

 

Si bien no es parte del objetivo principal de este trabajo, aunque lo incluye de modo implícito, traemos aquí un interrogante que el historiador Jacques Le Goff presenta en su obra Lo maravilloso y lo cotidiano en el occidente medieval, y que rescatamos en cuanto que es un tema sobre el cual deberíamos detenernos. Escribe Le Goff:

“Tengo la impresión de que en todo esto se manifiestan tendencias que, si bien son comunes a religiones como el islamismo y el cristianismo, parecen más propias al cristianismo: tendencias al simbolismo y a la moralización, tendencias a la racionalización científica e histórica. ¿Pueden descubrirse aquí y allá las corrientes de fondo enemigas ocultas de lo maravilloso?”

Como historiador de la Edad Media, época erróneamente considerada infértil y oscura, Jacques Le Goff nos pone sobre la mesa un interrogante que posiblemente lo encontremos a lo largo de todo el pensamiento del romanticismo y en sus producciones de modo latente. Pero siguiendo con nuestro propósito de análisis del arte en Marcelo Bordese cabría preguntarnos si lo que yace en su obra es la reactualización de una concepción del arte basada en una nueva mitología, para decirlo en palabras de F.W. Schelling. En el Estudio Preliminar a la Filosofía del arte de Schelling, la filósofa argentina Virginia López Domínguez advierte que,

“Por lo demás, el cristianismo, incluso en su vertiente católica y universal, no pudo poner las bases para una creación mitológica y estética, pues su visión puramente espiritual del mundo era esencialmente antipoética. De ahí, la necesidad de creación de una nueva mitología, de la cual el catolicismo será elemento esencial, pero no el único, pues ella deberá lograr que la manifestación sucesiva de Dios en el tiempo se haga simultánea, consiguiendo así la síntesis de la visión griega y la cristiana, de naturaleza e historia, para la cual la filosofía de la naturaleza en marcha en la época puede aportar los primeros gérmenes”

La pintura, en cuanto arte, adquiere en Marcelo Bordese la dimensión que Schelling le otorga como potencia ideal de la naturaleza, entendiendo, a la vez, que “el que se siente impulsado a disfrutar correctamente del arte sin renunciar a la más elevada participación de su ánimo en un suceso conocido, puede ver él mismo cómo se pone en actitud de comprender este arte poético mudo, que siempre y necesariamente es alegórico o simbólico también por su lado histórico” Asimismo, el filósofo alemán recuerda la necesidad de que el pintor “se eleve por encima de lo ordinariamente posible y que adopte como norma de representación una posibilidad superior y absoluta”.

En esta perspectiva, es válido recordar que el pintor Odilon Redon había confirmado a finales del siglo XIX la necesidad del simbolismo: «Toda mi originalidad consiste en dar vida, de una manera humana, a seres inverosímiles y hacerlos vivir según las leyes de lo verosímil, poniendo, dentro de lo posible, la lógica de lo visible al servicio de lo invisible» Y el legado de este siglo se dejó sentir dos siglos después. A mediados del silgo XX comenzaron a divulgar una especie de arte que retomaba la tradición de los nabis, los fauves, que eran simbolistas que concebían la manera subjetiva de expresar las emociones. Los nabis realizarán una pintura basada en la deformación: deformarán la realidad de dos maneras; una objetiva (aquella deformación de la realidad que se ve) y una subjetiva (deformación gracias a la emoción). Al modo de los nabis y de Redon, Marcelo Bordese retoma en sus lienzos una estética de lo deforme, entremezclando mitos paganos, animales imaginarios, así como también reminiscencias a maquinaria y objetos fetiche de una época de caballería. Pero, llamativamente, lo que más lo emparenta con el pintor simbolista francés, es toda la ingeniería que se imprime sobre sus pinturas y dibujos en un pormenorizado estudio sobre el cuerpo humano, que nos vuelve virtualmente a la época renacentista y humanista de Da Vinci, aunque estableciendo un criterio de distanciamiento y, podríamos decir, de crítica. Esta idea la dejaremos a modo de hipótesis para un siguiente trabajo, pues lo dicho es expuesto de un modo general y, por tanto, sesgado y superficial.

Poco a poco, y en el transcurrir de los siglos, se nos hace presente y clara la intuición fuerte que pudo haber sobrevenido a Le Goff al formular aquel interrogante. Y es que en pleno siglo XXI, asistimos con total escarnio al enemigo real de lo maravilloso. El mundo convencional, al intentar dar una seguridad al mayor número de seres, al congelar el fluir inagotable del conocimiento y de la creación del hombre, se convierte en el mayor enemigo de lo maravilloso. Si bien el impulso de lo maravilloso es un mecanismo natural en el hombre y se lo encuentra en toda su pureza en el niño y el primitivo, la imposición de lo convencional aparece gradualmente y empuña para dominar en la necesidad de subsistir. Se establece entonces la lucha entre la vida sórdida y la vida maravillosa, tal como lo expresa Aldo Pellegrini:

“Lo maravilloso habita el mundo de lo circundante, está al alcance de nuestras manos, pero no podemos verlo: nos lo impiden el cúmulo de inhibiciones que constituyen el mundo convencional”.

Que en todos los tiempos hubo pensadores, artistas, exploradores, que han imaginado a este enemigo, e incluso le han puesto distintos nombres, es archisabido. No estaríamos cumpliendo con nuestro objetivo si nos dedicáramos a des-ocultar la trama que posibilita que lo maravilloso, aún a pesar de sus enemigos ocultos, siga resistiendo. Pero quedémonos en nuestras manos con la punta del ovillo. Y es en este sentido que lo maravilloso, como dice Aldo Pellegrini, es a la vez individual y universal. Quisiera reproducir con sus propias palabras y de modo completo el párrafo en el cual manifiesta su postura, por no tener desperdicio alguno:

“Lo maravilloso debe entenderse referido siempre a la unidad hombre y lo universal a la suma de unidades hombres que participan en determinado momento. El proceso de lo maravilloso se realiza específicamente en cada hombre y en los grandes movimientos colectivos orientados hacia ese fin la apariencia de comunidad la da el hecho de que lo maravilloso constituye un proceso extraordinariamente contagioso. Podría comparársele a una llama que encendiera al mismo tiempo la porción combustible de todos los individuos. Visto de lejos aparece entonces como una inmensa hoguera, pero al aproximarse resultan una multitud de llamas individuales, con infinidad de matices diversos […] Sólo existe lo maravilloso individual que tiene, eso sí, una tendencia irresistible a la comunicabilidad, a la contagiosidad, que alcanza frecuentemente a exaltar con la misma intensidad a todos los miembros de una comunidad, pero en la cual cada uno responde al llamado encendiendo la propia llama en la que arde su auténtico yo. No existe fusión de impulsos sino suma, y en esa verdadera armonía sinfónica, el oído alerta puede reconocer las distintas voces unidas apasionadamente para dar el gran espectáculo del concierto universal. Para contribuir al lenguaje común de lo maravilloso, ha surgido el mito, expresión simbólica de esa aspiración”

Lo maravilloso, en cambio, le enseña la salida de su soledad de individuo, le hace participar en las cosas del mundo, le descubre su unidad con el cosmos. Volver a recuperar la cultura trágica en medio de un espíritu de desencantamiento del mundo. El arte de los románticos nos vuelve a poner en camino para la recuperación de una época donde los dioses, el mundo y los seres humanos vuelvan a ser Uno. Y lo alcanza porque el proceso mismo de la creación artística envuelve al hombre-artista en un extático olvido de sí (ekstasis); en un estar fuera de sí mismo para abandonarse en la obra. Y aquí quizás se encuentre una de las posibles respuestas a la pregunta que hemos dejado formulada al comienzo, respecto al falo como interiorización de la imagen respecto a un modelo, en este caso, la obra que es para el artista, a la vez, lo familiar y lo extraño.

El artista y crítico de arte inglés, John Ruskin, establece que la imagen (lo visual) tiene el mismo poder de la palabra, aludiendo así a la existencia de un pensamiento visual. Posiblemente siguiendo esta línea de reflexiones sobre el poder de transformación que la imaginación del pintor tiene sobre las cosas particulares, el arte de Bordese plantea el rechazo de la imitación (Imitatio): abstraer las cosas particulares hasta convertirlas en pensamientos, es decir, al armonizar la sensación de lo percibido (imagen exterior) con su realidad esencial (modelo interno) para que la combinación de ambas no parezca contradictoria. Tonia Raquejo reafirma esta concepción al decir que Ruskin “parte de esta contradicción para rechazar la imitación, ya que ésta se encarga de presentarnos aquello que parece lo que no es, estableciéndose una tensión entre los sentidos, que creen lo que ven, y la mente, que sabe que aquello no es”.

En este sentido, la novedad, como producto de la imaginación en ejercicio, al causarnos extrañeza nos hace contemplar con agrado incluso aquello que es monstruoso, sirviendo de alivio al tedio que acompaña nuestra vida cotidiana, lo que llamamos grosso modo ‘realidad’. De allí que el artista acompañe esta visión

No me interesan la novedad por la novedad misma, el cambio por el cambio, el trabajo por el trabajo, el culto al cuerpo; no me interesa ese vértigo de la época decadente en la que vivimos. Las manos lentas no son las de un tipo que maneja dinero o la computadora, las manos lentas poseen arte. Pueden acariciar.

Basta correr la cortina de lo convencional y nos encontramos sumergidos en un mundo maravilloso que no tiene horizontes, un mundo que se confunde con los sueños del hombre, donde transita libremente la esperanza. Es un mundo que espera el impulso que no se detiene, la aspiración infinita y les ofrece la posibilidad de materializarse. Así, impregnando la realidad que nos rodea, penetrándola y aniquilándola, está lo maravilloso cotidiano. Y es un horizonte que se nos escurre de los dedos pues, al decir de Aldo Pellegrini, toda realidad poseída descubre una nueva realidad por poseer, y así en escala inagotable. La sed de lo maravilloso es, en definitiva, una sed insaciable de realidad.

 

 

 

 

Pues, como dice Pellegrini:

«Guiado por lo maravilloso el espíritu no busca lo desconocido en un mundo vacío, sino que lo hace en la misma realidad aparente que lo rodea. La realidad sensible en un velo detrás del cual está lo desconocido.»

Y en este punto es interesante mencionar que, así como en Los caprichos de Goya, hay en Marcelo Bordese una clara influencia (no sé si consciente en el propio artista) de la imaginación que, no sólo produce placer, sino que, si es abandonada por la razón, también es causa de terror. Esta idea es trabajada por Joseph Addison en el libro Los placeres de la imaginación y otros ensayos de The Spectator, tal como lo expresa Tonia Raquejo:

«Goya, en el manuscrito que acompaña a su capricho, coincide con Addison, pues para él también la fantasía “abandonada a la razón produce monstruos imposibles: unida con ella es madre de las artes y origen de sus maravillas”.

En los deseos más primitivos se alzan los movimientos colectivos para hacer frente a lo convencional; lo maravilloso asoma en la realidad instituida para despertar lo colectivo, pero que, en un insurrecto enceguecimiento se autodestruye; llega de este modo lo maravilloso a satisfacerse en el individuo, aunque dado que es su tendencia exclusiva del hombre, y, por lo tanto, adquiere un valor universal. Atendiendo a la destrucción simbólica que produce el actuar desordenado y ciego del colectivo, lo común de validez universal petrifica (tal como lo ha expuesto Nietzsche en el escrito póstumo de Sobre verdad y mentira) estos símbolos en el uso del lenguaje generando como consecuencia el fenómeno religioso: abandona el vínculo vivo con el hombre y se vuelve hacia lo convencional. Este proceso de petrificación, que convierte el símbolo en concepto y lo hace perder su conexión con lo vital, reconoce en la religión la desviación de lo maravilloso que tiende a anularlo.

Existe una relación de parentesco entre la experiencia sagrada y la experiencia erótica. Y esta relación se vuelve, en un artista como Marcelo Bordese, en una experiencia estética. Pero lo estético aquí, debemos aclarar, adquiere el sentido de un vivir hacia lo ilimitado como exige la poesía, es decir, vivir en la dimensión total y este vivir, según Luis Felipe Noé a propósito de lo maravilloso de Aldo Pellegrini “no resulta conveniente para las fuerzas opresoras que dominan el mundo”.

Lo maravilloso, buscado a través de los viejos clichés como las escenas de crucifixión, iconografías cristianas y literatura artúrica, seres mitológicos que se actualizan en la historiografía de las edades del mundo. Lo maravilloso reuniéndose en tópicos reiterativos de fechas festivas como Feliz cumpleaños, Feliz navidad, momentos de la liturgia cristiana Martirio, Pasión, Eucaristía son algunos de los momentos en que el símbolo ya no es parte del juego visual determinado por lo maravilloso medieval que se erige sobre … sino que lo que envuelve la alquimia de su imaginario profano resuelve el uso de los clichés pictóricos de El caballero, la muerte y el diablo de Albrecht Dürer, la Crucifixión de Matthias Grünewald, La Libertad guiando al pueblo de Eugène Delacroix, y el Cristo Mickey de Savk Alexander.

Entonces ¿cómo decir o representar lo que se conoce por esas experiencias extraordinarias? Porque si bien Dios es creador de formas que conocemos ¿cuál es su forma, si es que la tiene? Se preguntan algunos teóricos…Y si es que tiene forma igual que todo lo que nos rodea o que nosotros mismos, ¿cómo representarlo? ¿cómo imaginar sus actos? El hombre entonces recurre a lo inaudito, a lo insólito, a lo desmesurado, en suma, a lo deforme. Y aquí conviene recordar que lo que se imita no es ni un hecho empírico, ni lo universal sino el alma de lo representado, como se manifiesta en el pensamiento del filósofo romántico Schelling. Algo así como hacer visible que no es dar luz (aletheia) sino hacer manifiesto a través del arte para que pueda ser apreciado como fenómeno estético.

Encontramos aquí la fuerza del mito y el poder de lo sagrado que yacen en las pinturas y dibujos de Marcelo Bordese, dado que de éstos se desprende una visión del arte en donde el artista es considerado él mismo una obra de arte. Y en este sentido expresan Lipovetsky y Serroy:

“[…] el arte estará […] designando un poder espiritual laico de nuevo cuño. No ya una esfera destinada a ofrecer atractivos, sino lo que revela las verdades últimas que escapan a la ciencia y a la filosofía: un acceso a lo Absoluto al mismo tiempo que un nuevo instrumento de salvación. El poeta compite con el sacerdote, y ocupa su lugar en materia de desvelamiento último del ser: la secularización del mundo ha sido el trampolín de la religión moderna del arte.

Lector del poeta romántico, Bordese dedica a Friedrich Hölderlin una serie de dibujos que titula Poemas de la locura, en alusión a las creaciones en su avanzada enfermedad. En este homenaje al poeta de lo trágico (referente, incluso, de Nietzsche), Bordese manifiesta la visión de lo más sagrado como el excelso silencio al que conduce la locura. Y es que, a decir de Luis Felipe Noé en un texto a propósito de la muestra Hölderlin: los poemas de la locura (2008), el blanco de Bordese es el espacio donde no hay línea ni color ni imagen, pero que se conoce porque del precipicio sólo se es consciente cuando uno se coloca en el borde. El Noé que recuerda en Lo maravilloso de Aldo Pellegrini “lograr la conservación del mecanismo de lo maravilloso desde la niñez hasta la edad madura representa una de las luchas más cruentas en la existencia del hombre. El individuo común abandona inmediatamente sin lucha, el hombre de excepción, entre los que resalta el artista, trata de escapar perseguido por toda la sociedad. Así puede vencerlo la miseria, la locura, el suicidio, o puede llegar a la ocultación de lo maravilloso-recurso habitual- que hace surgir las doctrinas secretas, las sectas ocultas, la enseñanza hermética”.

Lo cierto es que hay en los poemas de Hölderlin una evocación del espíritu a la necesidad de creer en los dioses que poblaron el territorio existencial griego, y este espíritu que ha encontrado a Bordese a punto de penetrar con su pincel y lápiz el blanco de lo infinitamente posible; quizás allí donde la esquizofrenia adopta la cara amable del poder de lo sagrado.

 

 

 

 

 

No hay tiempo para profundizar en un aspecto que si no central sí es esencial en la concepción del arte que puede desprenderse de la obra de Bordese. Pero es menester, al menos, dejar sugerida la idea de que su arte juega, incluso, con el concepto de juego en el sentido que Dostoievski le ha dado en cuanto su relación con la libertad humana y el azar, como formas de enfrentar la vida y la existencia, y que, de algún modo, es la forma en que experimentamos el sentido maravilloso de un mundo aterrador y, a menudo, tan infernal.

 

 

 

Aquí quisiera sólo mencionar la trama trágica que yace en una obra como La difunta fértil (2006) y que, según el mismo Bordese lo relata, su nombre original ha sido La jugadora. Posiblemente esta obra sea de la misma serie que Faunesas. En todos los dibujos y pinturas de esta serie vemos que curiosamente el escudo de la República Argentina asoma a tientas en sus colores pasteles, casi borroso y confundido en el lienzo. Con este símbolo patrio la historia se narra su propio destino que trasciende las fronteras individuales recordando aquella mitológica licantropía, que, en el caso del arte de Bordese, puede ofrecer una denotación de la denominada <licantropía clínica>. No obstante, se trataría de una creencia que considera que los seres humanos “comparten” alma con las bestias (tema que deberá ser profundamente trabajado en otro momento). Lo cierto es que, el pintor tiene aquí la carga trágica del escritor ruso. Ambos acucian con su destino un combate sin tregua, una especie de amorosa hostilidad. “Todos los conflictos lo aguzan dolorosamente, todos los contrastes aumentan su dolorosa tensión hasta el desgarramiento […] Frente a este poder demoníaco de metamorfosis que así cambia el dolor en placer, nada pueden los golpes del Destino”.

 

 

 

 

El arte vive al descubrir lo maravilloso, hacerlo público mediante procedimientos artísticos e introducirlo al dominio de la estética, erigiendo sobre el análisis de las creaciones del pintor una luminosa historia psicológica de un pueblo.

Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen? Und gesetzt selbst, es nähme einer mich plötzlich ans Herz: ich verginge von seinem stärkeren Dasein. Denn das Schöne cih nichts als des Schrecklichen Anfang, den wir noch grade ertragen, und wir bewundern es so, weil es gelassen verschmäht, uns zu zerstören. Ein jeder Engel ist schrecklich.

[R. M. Rilke, Duineser Elegien – Die Erste Elegie]

 

 

Elegía I

¿Quién, si yo gritara, me oiría desde las jerarquías
de los ángeles?, y aún en el caso de que uno me cogiera
de repente y me llevara junto a su corazón: yo perecería por su
existir más potente. Porque lo bello no es nada
más que el comienzo de lo terrible, justo lo que
nosotros todavía podemos soportar,
y lo admiramos tanto porque él, indiferente,
desdeña destruirnos. Todo ángel es terrible.

[R. M. Rilke, Elegías de Duino – Elegía Primera. Traducción de Eustaquio Barjau]

 

***

María Eugenia Piñero

________________

 

Bibliografía consultada

1. Aldo Pellegrini: La conquista de lo maravilloso. Ensayos reunidos. Prólogo de Luis Felipe Noé. Editorial Argonauta, Buenos Aires, 2016. ISBN: 978-950-9282-79-7.

     – Lo erótico como sagrado. Publicado originalmente como estudio preliminar en la primera edición en castellano de: D.H. Lawrence y Henry Miller. Pornografía y obscenidad. En la edición utilizada: Trad. y notas Aldo Pellegrini, Ed. Argonauta, Buenos Aires, 2013.

2. Andrew Bowie: Estética y subjetividad. La filosofía alemana de Kant a Nietzsche y la teoría estética actual. Editorial Antonio Machado, Madrid, 1999. ISBN: 978-847-7747-25-3. 

3. Boris Groys: Volverse público. Las transformaciones del arte en el ágora contemporánea. Trad. Paola Cortés Rocca. Caja Negra Editora, Buenos Aires, 2014. ISBN: 978-987-1622-30-6.

4. Breton, André: Manifiestos del Surrealismo. Editorial Guadarrama, Madrid 1962. ISBN: 978-847-5229-76-8.

    – “Ante el Telón” en La Llave de los Campos. Traducción Ramón Cuesta y Ramón García Fernández. Libros Hiperión, Madrid 1976. ISBN: 978-843-3600-01-1.

5. Demetrio Estébanez Calderón: Breve diccionario de términos literarios. Edición ampliada y actualizada. Alianza Editorial, Madrid, 2015. ISBN: 978-84-9104-183-2. 

6. Elena Oliveras: Estética. La cuestión del arte. Editorial Ariel, Buenos Aires, 2004. ISBN: 978-950-9122-89-5.

7. Friedrich Nietzsche: El nacimiento de la tragedia. Introd, Trad. y notas por Andrés Sánchez Pascual. Alianza Editorial, Madrid, 2007. ISBN: 978-84-206-1456-4.

      – Sobre verdad y mentira en sentido extramoral. Trad. Luis M. Valdés y Teresa Orduña. Editorial Tecnos, Madrid, 2006. ISBN: 978-843-0946-10-5.

8. Friedrich Wilhelm Joseph von Schelling: Filosofía del arte. Estudio preliminar, traducción y notas de Virginia López Domínguez. Editorial Tecnos, Madrid, 2012. ISBN: 978-843-0933-47-1.

9. G. Lipovetsky y J. Serroy: La estetización del mundo. Vivir en la época del capitalismo artístico. Trad. Antonio- Prometeo Moya Valle. Editorial Anagrama, Barcelona, 2015. ISBN: 978-84-339-6375-8.

10. Hans-Georg Gadamer: La actualidad de lo bello. Trad. Antonio Gómez Ramos y la Introducción a cargo de Rafael Argullol. Paidós Ediciones, Buenos Aires, 2008. ISBN:  978-847-5096-79-7.

11. Hermann Broch: Kitsch, vanguardia y el arte por el arte. Tusquets Ediciones, Barcelona, 1970. ISBN: 978-847-2230-11-8.

12. Jacques Le Goff: Lo maravilloso y lo cotidiano en el Occidente medieval. Trad. Alberto L. Bixio. Editorial Gedisa, Barcelona, 2008. ISBN: 978-847-4322-22-4.

12. Jean- Marie Schaeffer: Arte, objetos, ficción, cuerpo. Cuatro ensayos sobre Estética. Prólogo, trad. y edición de Ricardo Ibarlucía. Editorial Biblos, Buenos Aires, 2012. ISBN: 978-987-6910-05-7.

13. Laura Serrano: Las fuentes de la historia del arte en la época contemporánea. Ediciones del Serbal, Barcelona, 2012. ISBN: 978-847-6286-86-9.

14. Luis Enrique de Santiago Guervós: Arte y Poder. Aproximación a la estética de Nietzsche. Trotta Editorial, Madrid, 2004. ISBN:  978-84-8164-611-5.

15. Oybin, Marina: Entrevista a Marcelo Bordese en Dos miradas sobre lo siniestro. Revista de cultura, Buenos Aires, 2011.

16. Rudolf Otto: Lo sagrado. Trad. Eduardo García Belsunce, Ed. Claridad, Buenos Aires, 2008. ISBN: 978-950-620-250-7.

17. Stefan Zweig: La lucha contra el demonio (Hölderlin-Kleist-Nietzsche): Introducción. Trad. Joaquín Verdaguer. Editorial El Acantilado, Barcelona, 1999. ISBN: 978-84-95359-04-9.

    – Tres maestros. Balzac-Dickens-Dostoievski. Versión de Juan G. Krohn, Ed. Tor, Buenos Aires, 1941.

18. Valeriano Bozal: Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Vol. I. La Balsa de la Medusa, Antonio Machado Libros, Madrid, 2004. ISBN: 978-847-7745-81-5.

_______

Páginas web consultadas:

http://www.solnegro.blogspot.com.ar

http://www.artistasdebuenosaires.blogspot.com/2006/05/marcelo-bordese-la-cura-por-el-arte

http://www.elmundo.es/elmundo/2007/03/27/cultura/1174954599

Autor
Categories: Artes Plásticas

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