Tartamudeo, temblor y baile en lo real. Repetición a través del proceso artístico
Sanzo San Martín, Irantzu
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A piece of art is just the tip of the iceberg of conscious and unconscious processes, thoughtful and casual, known and unknown, which coexist with the piece itself. In this sense, one of the aims of artistic research is to make visible the artistic process to act through it, without relying on external research fields. The theoretical framework of this thesis follows the line of research established by dOCUMENTA(13) which is committed to artistic research in relation to the Real. Basically, the Real is conceived as nature and reality, as our perception of it.For Cristoph Menke, art is in transit and divergence between capacity and strength. In the force of art, our strength is at stake. Thus, the challenge of this thesis is to visualize the transition between one another. Consequently, the specific proposal is focused on the study and the use of repetition in the artistic process. Jacques Derrida claims that the number for repetition is three (Derrida, 1967). Gilles Deleuze distinguishes three levels of repetition, which main field is art: external repetition or reproduction, internal repetition or event, and the repetition which connects the prior two levels (Deleuze, 1968). This study finds correlation between these types of repetition and the notion of intraction by Karen Barad (Barad, 2012), based on the foundation that beings exist within phenomena by a permanent ¿intractive¿ and iterative reconfiguration. Therefore, the research expected outcome is not a piece of art but putting into practice new agency possibilities through the artistic process. The hypothesis is based on the idea that the transit between repetition and difference in the artistic process can be extrapolated to the relationship between strength and capability, enabling the movement/shift of the artistic process towards the Real.