Papers by Jaime Vindel Gamonal
Artl@s Bulletin , 2022
This short essay uses the concept of “partisan ecologies” in order to analyse certain past and pr... more This short essay uses the concept of “partisan ecologies” in order to analyse certain past and present chapters on the relationship between anti-fascism and nature. According to the Swedish eco-Marxist Andreas Malm, wilderness has not only represented an essentialist idea resulting from the projections of conservationist environmentalism about a supposedly untouched nature, but has also been one of the real spaces of a modern antagonism. Taking
this theoretical point of departure, the text describes the Alpine Battalion of the Sierra del Guadarrama during the Spanish Civil War and its resonances in some contemporary events.
g oya 3 6 3 · a ñ o 2 0 1 8 1 6 0 Luego de unos primeros años en los que necesidades materiales a... more g oya 3 6 3 · a ñ o 2 0 1 8 1 6 0 Luego de unos primeros años en los que necesidades materiales acuciaron a la familia del filósofo, quien debió de ejercer los oficios más variopintos, entre los que la traducción cumplió un papel preponderante, Sánchez Vázquez se incorporaría a la Fa-En memoria de Adolfo Sánchez Vázquez: estética marxista y filosofía de la praxis entre el exilio republicano y el comunismo antifranquista · jaime vindel gamonal ·
El río sin orillas/ Third Text, 2010
transversal texts eipcp (european institute for cultural policies), 2010
Re-visiones, 2016
This text traces the survival of St Paul messianism at various different landmarks in political p... more This text traces the survival of St Paul messianism at various different landmarks in political philosophy,
social activism and contemporary art practices. It takes the critical reconsideration of the concept of class as its starting
point, showing us how it left behind the egalitarian universalism of the radical and interracial policy of early modernity
(the transoceanic proletariat) to become a stable and discriminatory identity (the national working classes) designed to
address the conflict between capital and labour. From this perspective, the second part of the article analyses the way in
which recent social movements, inspired by the operaista rejection of Fordist work, are trying to go beyond the structural
configuration of modern experience in which work and aesthetics have a key function
Re-visiones, 2010
El ensayo curatorial de Diana Wechsler titulado "Imágenes entre la realidad y la utopía. Arte e h... more El ensayo curatorial de Diana Wechsler titulado "Imágenes entre la realidad y la utopía. Arte e historia en la Argentina" plantea una incisiva mirada sobre dos siglos de producción artística en el país austral. En su escritura de la historia, Wechsler reconcilia lo abarcativo del conjunto con lo punzante de cada uno de los episodios que conforman el Bildatlas con el que invoca la figura de Aby Warburg. Más que una réplica a su enfoque, las palabras que siguen remiten a las respuestas provisionales que, al pensarme políticamente como historiador, he alcanzado en el transcurso de mi investigación doctoral sobre las relaciones entre arte y política en Argentina desde los años sesenta hasta la crisis del 2001 -dos de los momentos en los que Wechsler se detiene-. Creo que no me equivoco si digo que son respuestas posibles a preguntas compartidas. Aun sobre la base de una coincidencia general en nuestros puntos de vista, espero que su exposición despierte el diálogo o complemente humildemente las ideas que con solidez plasma el texto de Wechsler.
Re-visiones, 2011
En su famoso ensayo "La obra de arte en la época de su reproductibilidad técnica", escrito en 193... more En su famoso ensayo "La obra de arte en la época de su reproductibilidad técnica", escrito en 1936, Walter Benjamin vinculaba la transformación decisiva y radical de la teoría del arte decimonónica con el tránsito experimentado por las imágenes (del arte) desde el valor de culto al valor de exposición (Benjamin, 2008). Esa alteración habría sido operada por la aparición histórica de la fotografía y el cine como modos de producción y reproducción de las imágenes. Su emergencia impondría un nuevo régimen de experiencia del mundo (no solo del arte) que postergaría el distanciamiento aurático del ritual en favor de la política.
In his well-known essay "The Work of Art in Its Age of Mechanical Reproduction", written in 1936, Walter Benjamin binds the decisive and radical transformation of the XIXth Century art theory with the transition experienced by the images (of art) from cult to exhibition value (Benjamin, 2008). This alteration would have been managed by the historical apparition of photography and film as modes of production and reproduction of images. Their outspring would impose a new regime in the way the world (not just the art world) is experienced, which would postpone the auratic distance of rituals while leaving room for politics.
Anales de Historia del Arte, 2012
Es difícil entender el fenómeno de radicalización de la escena artística argentina en el arco... more Es difícil entender el fenómeno de radicalización de la escena artística argentina en el arco temporal que se extiende desde finales de los años cincuenta a principios de la década del setenta sin acudir al itine- rario intelectual de dos artistas como Ricardo Carpani y León Ferrari. Ambos ejercieron una poderosa infuencia sobre el sector del campo artístico nacional y latinoamericano más interesado por el arraigo social e histórico de sus obras, estableciéndose como verdaderos núcleos gravitacionales de la compren- sión y el devenir de las relaciones entre el arte y la política durante el período.
It would be dif cult to attempt to understand the radicalisation of the Argentinean art scene in the time spanning from the late fifties to the early seventies without turning to the intellectual career of two artists: Ricardo Carpani and León Ferrari. Both men exercised a marked infuence over their contem- poraries, becoming gravitational centres in the understanding and the development of the connections between art and politics during the period.
Arte, individuo y sociedad, 2014
El texto analiza el énfasis semiótico de un sector de las prácticas de la vanguardia argentina... more El texto analiza el énfasis semiótico de un sector de las prácticas de la vanguardia argentina de los años sesenta. Esas prácticas, inspiradas en la lectura de autores como Roland Barthes, se articularon en torno a conceptos como “discontinuidad” y “deshabituciación” para dar lugar a una serie de planteamientos sumamente novedosos en el contexto de la emergencia internacional del arte conceptual. Las propuestas de artistas e intelectuales como Ricardo Carreira, Roberto Plate u Óscar Masotta permitieron abordar las relaciones entre arte y lenguaje desde una perspectiva novedosa, que mani esta puntos de conexión, pero también profundas diferencias, con las obras de los artistas conceptuales anglosajones, habitualmente asociados al canon tautológico de las prácticas desmaterializadas. Ese análisis lingüístico fue acompañado, en el caso argentino, de una crítica de los medios que, sin duda, constituye una de las características más originales de la vanguardia del momento y que dio lugar a colectivos de experimentación de los cruces entre el arte y la comunicación como el grupo “Arte de los medios de comunicación”, integrado por el propio Masotta, los artistas Roberto Jacoby y Eduardo Costa y el periodista Juan Risuleo.
The text analyzes the semiotic focus of the avant-garde practices in Argentina during the sixties. These practices, inspired on the studies of authors such as Roland Barthes, were articulated around concepts like “discontinuity” and “de-habituation” to give rise to a series of highly innovative approaches in the context of international emergence of conceptual art. Proposals from artists and intellectuals such as Ricardo Carreira, Roberto Plate or Oscar Masotta allowed to address the relationships between art and language from a new perspective, which shows connection points, but also deep differences, with the works of conceptual artists in United States and Britain, usually associated with the tautological canon of dematerialized practices. That linguistic analysis was accompanied, in the case of Argentina, with a critique of the media. This is one of the most unique features of the vanguard of the moment and led to collective experimentation between art and communication as the group “Art of the media “, composed Massota own , artists Roberto Jacoby and Eduardo Costa and journalist Juan Risuleo.
Anales del Instituto de Investigaciones Estéticas de la UNAM, 2018
Este artículo analiza la actividad intelectual del filósofo hispano-mexi-cano Adolfo Sánchez Vázq... more Este artículo analiza la actividad intelectual del filósofo hispano-mexi-cano Adolfo Sánchez Vázquez en el eje transatlántico de la cultura comunista de la guerra fría. A partir del trabajo con documentación inédita de archivo, se reconstruyen las discusiones que Sánchez Váz-quez sostuvo como militante de la delegación del Partido Comunista de España en México, su ruptura con la política centralista de la orga-nización, su giro estético-praxeológico en la concepción del marxis-mo, su presencia en los debates de intelectuales y artistas posteriores a la Revolución cubana y, finalmente, su influjo en la crítica de arte del Estado español, vinculada al comunismo antifranquista. De este modo, se amplía el foco sobre las repercusiones de su relectura de los Manuscritos económico-filosóficos de 1844, que intentaban alejarse por igual de la ortodoxia del diamat y del estructuralismo althusseriano.
The article analyzes the intellectual activity of Hispanic-Mexican philosopher Adolfo Sánchez Vázquez in the transatlantic axis of communist culture during the Cold War. Using unpublished file doc-umentation, it reconstructs discussions in which Sánchez Vázquez participated as a militant of the Spanish Communist Party delegation in Mexico, his break from the organization’s centralist politics, the aes-thetic-praxeological turn in his conception of Marxism, his presence in intellectual and artistic debates after the Cuban revolution and, finally, his influence on art criticism in Spain, linked to anti-Fran-co communism. It thus expands on the scope of the consequences of his re-reading of the Economic and Philosophic Manuscripts of 1844and his attempt to rethink Marxism beyond diamat orthodoxy and Althusser’s structuralism.
Anales de Historia del Arte, 2017
The article analyzes the trajectory of the artistic group La Familia Lavapiés (LFL), taking into... more The article analyzes the trajectory of the artistic group La Familia Lavapiés (LFL), taking into account documentary collections as Dario Corbeira ́s Archive (ADC), that remain highly unk- nown. The group’s activities are located in the context of historical emergence of the radical left during the last stage of Franco dictatorship. In particular, LFL was linked to the People’s Union of Artists (UPA), integrated in the maoist organization Revolutionary Antifascist Patriotic Front (FRAP).
Books by Jaime Vindel Gamonal
La explotación de los combustibles fósiles fue fundamental para el desarrollo de la Revolución in... more La explotación de los combustibles fósiles fue fundamental para el desarrollo de la Revolución industrial así como para la creación de imaginarios culturales que instituyeran una cosmovisión productivista tendente a legitimar las prácticas ecocidas y el extractivismo colonial.
En este apasionante ensayo, Jaime Vindel analiza el impacto de los imaginarios de la energía en las disciplinas científicas y en las prácticas culturales durante los dos últimos siglos. Además aborda de manera crítica su vigencia en el contexto del neoliberalismo y la actual crisis ecosocial.
This book is a glossary, a toolbox for coming to terms with the new modes of interaction between ... more This book is a glossary, a toolbox for coming to terms with the new modes of interaction between art and politics in Latin America in a period that extended from Pinochet´s coup d´état to the Zapatista uprising -a period hallmarked by brutal repression and the emergence of the neoliberalism, but which also gave rise to a host of creative practices initiated by the human rights´ movements, new forms of urban youth culture brought on by the outbreak of punk and the underground scene, an outburst of sexual dissidence and travestism, and subterranean networks and ties of solidarity that spanned the continent. A vast set of experiences that contributed to the reinvention of political action and fostered the new lifeforms that welled up between terror and fiesta.
El propósito principal de este volumen de Desacuerdos no es reconsiderar el papel de la crítica... more El propósito principal de este volumen de Desacuerdos no es reconsiderar el papel de la crítica desde una perspectiva arqueológica que esclarezca sus con- diciones de enunciación actuales. El panorama poliédrico que construyen los textos aquí incluidos produce, ante todo, una sensación de extrañamiento de- rivada de la confrontación con formas de legitimidad y funciones de la crítica que parecen haber agotado hoy sus posibilidades de incidencia social. Siendo difícil reconocernos en buena parte de los linajes discursivos aquí expuestos, experimentamos ese estado de orfandad, más que como una carga, como una ventana de oportunidad en la que proyectar nuevas articulaciones críticas que aprovechen las ruinas de un sistema para imaginar otra territorialidad cultural.
Este libro se propone cartografiar un conjunto de las estrategias críticas desplegadas por el art... more Este libro se propone cartografiar un conjunto de las estrategias críticas desplegadas por el arte conceptual desde la década de los sesenta. La forma que adopta la narración es, sin embargo, la del ensayo teórico. Además de describir las experiencias rescatadas, se trata de retornar sobre algunos de los dilemas que el arte conceptual diagramó en un territorio común donde el arte, el lenguaje y la política amenazaban con traspasar los límites tradicionales de su autonomía.
Este libro traza una genealogía crítica de las tensiones experimentadas por la relación entre el ... more Este libro traza una genealogía crítica de las tensiones experimentadas por la relación entre el arte y la política en Argentina en un arco temporal que se extiende desde 1965, fecha que se corresponde con los prolegómenos del golpe de Estado que al año siguiente impondría la dictadura de facto de Juan Carlos Onganía, al año 2001, el momento de mayor convulsión económica y social vivido por el país del Cono Sur durante su historia reciente. El trabajo recoge los frutos de una investigación exhaustiva realizada por el autor durante la última década en Argentina, donde pudo acceder tanto a los archivos más relevantes para su objeto de estudio como a testimonios de los actores directamente involucrados en las experiencias artístico-políticas argentinas de las últimas décadas. El itinerario de lectura propuesto parte de una crítica del lugar común según el cual la vanguardia argentina de los años sesenta representaría una suerte de “origen absoluto” cuyo sentido habría sido fijado de manera incontestable y del cual derivarían filialmente las prácticas activistas de décadas posteriores. Frente a ese tipo de enfoques, se trata de constatar las líneas de continuidad, pero también de ruptura, entre las prácticas que articularon la relación entre el arte, el activismo y la política en Argentina desde los años sesenta, momento en el cual la revolución era vivida como un horizonte político inminente, a los años que transcurrieron entre el retorno de la democracia parlamentaria y el colapso que supuso para la vida social del país la crisis económica de 2001, durante los cuales la rebeldía contra los designios impuestos por el capitalismo financiero global sobre el destino del país sudamericano se superpuso con una serie de políticas de la memoria impulsadas por los movimientos sociales que trataron de rescatar del olvido lo actuado por el Proceso de Reorganización Nacional.
Book chapters by Jaime Vindel Gamonal
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Papers by Jaime Vindel Gamonal
this theoretical point of departure, the text describes the Alpine Battalion of the Sierra del Guadarrama during the Spanish Civil War and its resonances in some contemporary events.
social activism and contemporary art practices. It takes the critical reconsideration of the concept of class as its starting
point, showing us how it left behind the egalitarian universalism of the radical and interracial policy of early modernity
(the transoceanic proletariat) to become a stable and discriminatory identity (the national working classes) designed to
address the conflict between capital and labour. From this perspective, the second part of the article analyses the way in
which recent social movements, inspired by the operaista rejection of Fordist work, are trying to go beyond the structural
configuration of modern experience in which work and aesthetics have a key function
In his well-known essay "The Work of Art in Its Age of Mechanical Reproduction", written in 1936, Walter Benjamin binds the decisive and radical transformation of the XIXth Century art theory with the transition experienced by the images (of art) from cult to exhibition value (Benjamin, 2008). This alteration would have been managed by the historical apparition of photography and film as modes of production and reproduction of images. Their outspring would impose a new regime in the way the world (not just the art world) is experienced, which would postpone the auratic distance of rituals while leaving room for politics.
It would be dif cult to attempt to understand the radicalisation of the Argentinean art scene in the time spanning from the late fifties to the early seventies without turning to the intellectual career of two artists: Ricardo Carpani and León Ferrari. Both men exercised a marked infuence over their contem- poraries, becoming gravitational centres in the understanding and the development of the connections between art and politics during the period.
The text analyzes the semiotic focus of the avant-garde practices in Argentina during the sixties. These practices, inspired on the studies of authors such as Roland Barthes, were articulated around concepts like “discontinuity” and “de-habituation” to give rise to a series of highly innovative approaches in the context of international emergence of conceptual art. Proposals from artists and intellectuals such as Ricardo Carreira, Roberto Plate or Oscar Masotta allowed to address the relationships between art and language from a new perspective, which shows connection points, but also deep differences, with the works of conceptual artists in United States and Britain, usually associated with the tautological canon of dematerialized practices. That linguistic analysis was accompanied, in the case of Argentina, with a critique of the media. This is one of the most unique features of the vanguard of the moment and led to collective experimentation between art and communication as the group “Art of the media “, composed Massota own , artists Roberto Jacoby and Eduardo Costa and journalist Juan Risuleo.
The article analyzes the intellectual activity of Hispanic-Mexican philosopher Adolfo Sánchez Vázquez in the transatlantic axis of communist culture during the Cold War. Using unpublished file doc-umentation, it reconstructs discussions in which Sánchez Vázquez participated as a militant of the Spanish Communist Party delegation in Mexico, his break from the organization’s centralist politics, the aes-thetic-praxeological turn in his conception of Marxism, his presence in intellectual and artistic debates after the Cuban revolution and, finally, his influence on art criticism in Spain, linked to anti-Fran-co communism. It thus expands on the scope of the consequences of his re-reading of the Economic and Philosophic Manuscripts of 1844and his attempt to rethink Marxism beyond diamat orthodoxy and Althusser’s structuralism.
Books by Jaime Vindel Gamonal
En este apasionante ensayo, Jaime Vindel analiza el impacto de los imaginarios de la energía en las disciplinas científicas y en las prácticas culturales durante los dos últimos siglos. Además aborda de manera crítica su vigencia en el contexto del neoliberalismo y la actual crisis ecosocial.
Book chapters by Jaime Vindel Gamonal
this theoretical point of departure, the text describes the Alpine Battalion of the Sierra del Guadarrama during the Spanish Civil War and its resonances in some contemporary events.
social activism and contemporary art practices. It takes the critical reconsideration of the concept of class as its starting
point, showing us how it left behind the egalitarian universalism of the radical and interracial policy of early modernity
(the transoceanic proletariat) to become a stable and discriminatory identity (the national working classes) designed to
address the conflict between capital and labour. From this perspective, the second part of the article analyses the way in
which recent social movements, inspired by the operaista rejection of Fordist work, are trying to go beyond the structural
configuration of modern experience in which work and aesthetics have a key function
In his well-known essay "The Work of Art in Its Age of Mechanical Reproduction", written in 1936, Walter Benjamin binds the decisive and radical transformation of the XIXth Century art theory with the transition experienced by the images (of art) from cult to exhibition value (Benjamin, 2008). This alteration would have been managed by the historical apparition of photography and film as modes of production and reproduction of images. Their outspring would impose a new regime in the way the world (not just the art world) is experienced, which would postpone the auratic distance of rituals while leaving room for politics.
It would be dif cult to attempt to understand the radicalisation of the Argentinean art scene in the time spanning from the late fifties to the early seventies without turning to the intellectual career of two artists: Ricardo Carpani and León Ferrari. Both men exercised a marked infuence over their contem- poraries, becoming gravitational centres in the understanding and the development of the connections between art and politics during the period.
The text analyzes the semiotic focus of the avant-garde practices in Argentina during the sixties. These practices, inspired on the studies of authors such as Roland Barthes, were articulated around concepts like “discontinuity” and “de-habituation” to give rise to a series of highly innovative approaches in the context of international emergence of conceptual art. Proposals from artists and intellectuals such as Ricardo Carreira, Roberto Plate or Oscar Masotta allowed to address the relationships between art and language from a new perspective, which shows connection points, but also deep differences, with the works of conceptual artists in United States and Britain, usually associated with the tautological canon of dematerialized practices. That linguistic analysis was accompanied, in the case of Argentina, with a critique of the media. This is one of the most unique features of the vanguard of the moment and led to collective experimentation between art and communication as the group “Art of the media “, composed Massota own , artists Roberto Jacoby and Eduardo Costa and journalist Juan Risuleo.
The article analyzes the intellectual activity of Hispanic-Mexican philosopher Adolfo Sánchez Vázquez in the transatlantic axis of communist culture during the Cold War. Using unpublished file doc-umentation, it reconstructs discussions in which Sánchez Vázquez participated as a militant of the Spanish Communist Party delegation in Mexico, his break from the organization’s centralist politics, the aes-thetic-praxeological turn in his conception of Marxism, his presence in intellectual and artistic debates after the Cuban revolution and, finally, his influence on art criticism in Spain, linked to anti-Fran-co communism. It thus expands on the scope of the consequences of his re-reading of the Economic and Philosophic Manuscripts of 1844and his attempt to rethink Marxism beyond diamat orthodoxy and Althusser’s structuralism.
En este apasionante ensayo, Jaime Vindel analiza el impacto de los imaginarios de la energía en las disciplinas científicas y en las prácticas culturales durante los dos últimos siglos. Además aborda de manera crítica su vigencia en el contexto del neoliberalismo y la actual crisis ecosocial.