Hacia una pintura objetual

Carmen de Lucas Vallejo. 

Sin títuloDe izquierda a derecha: César Paternosto. Red Trio #6, 2015. Colección del artista, Segovia; Piet Mondrian. New York City, 3 (inacabado), 1941. Museo Nacional Thyssen-Bornemisza, Madrid; César Paternosto. 1.2.1.2, 1972. Cortesía Galerie Denise René, París.

El Museo Thyssen presenta Hacia una pintura objetual, una muestra que establece un diálogo entre la obra del artista de origen argentino César Paternosto y una selección de cuadros de las colecciones Thyssen-Bornemisza. Comisariada por el propio Paternosto, la exposición analiza el cambio de paradigma pictórico que llevó a los artistas de comienzos del siglo XX a redescubrir la pintura como objeto frente a la ilusión renacentista que había convertido el lienzo en una ventana en la que ver reflejada la realidad visible. Para hacernos reflexionar sobre esa transformación artística que se inició hace ya más de un siglo, el artista ha seleccionado seis obras del museo – de Piet Mondrian, Pablo Picasso, Juan Gris y Joaquín Torres-García-, para exponerlas junto a las suyas, ocho piezas procedentes de diversas colecciones públicas y privadas. Su visión conjunta no solo ejemplifica la senda hacia la objetualidad de la pintura, sino que sirve para establecer el linaje de su propia evolución artística en los años 1970: 

Trio24_GRND“Que la pintura es también un objeto – explica Paternosto-, una cosa (una tela estirada en un bastidor), es un hecho del que se asume plena conciencia tan solo en el siglo XX. (…) En un diálogo – que espero fecundo y demostrativo- con las obras de la colección del Museo Thyssen-Bornemisza que he sido invitado a elegir, (…) una selección de mis obras de los años 70 testimonia mi aspiración de hacer de la pintura un objeto que hay que leer integralmente: una superficie frontal (aparentemente) vacía más los costados provistos por bastidores más profundos de lo habitual, donde se desarrolla el tema pictórico. 

Es evidente que cuando hablamos de una pintura como objeto nos ubicamos frente a una cosa. (…) No obstante, como nos advierte Adorno, ‘el espíritu es lo que hace a las obras de arte, cosas entre las cosas, algo diferente de ellas’.”

Black_GRNDCésar Paternosto (La Plata, Argentina, 1931) es un pintor, escultor e investigador teórico, vivió en Nueva York desde 1967 hasta 2004, y  actualmente reside en Segovia. Asistió desde muy joven a clases de dibujo y, tras un breve periodo de ejercicio de la abogacía, se dedicó de lleno a la pintura. Paternosto practicó desde el primer momento la abstracción, inicialmente de tipo expresionista y muy pronto geométrica, insertándose así en la gran tradición vanguardista latinoamericana. En este contexto, evolucionó hacia una “geometría sensible”, en la que la frialdad quedaría atenuada por la delicadeza de los tonos y una sutil irregularidad de las líneas. 

Museo Thyssen- BornemiszaEn la tradición del arte occidental, el campo pictórico siempre se había organizado hacia el centro del lienzo. En su obra de madurez, Piet Mondrian impuso sin embargo la dispersión compositiva, eliminando el marco y empujando suavemente los elementos pictóricos hacia la periferia del cuadro. Paternosto, por su parte, descubrió en 1969 las posibilidades expresivas del canto de los lienzos, lo que le permitió transformar el cuadro en objeto, inaugurando un nuevo espacio para la pintura y obligando a modificar la posición tradicional del espectador frente a la obra. Fue una consecuencia lógica del precedente iniciado por Mondrian que tuvo un resultado sorprendente, pues su pintura no se ofrece directamente al público, sino que se le oculta para que el espectador la busque en un cercamiento oblicuo. 

Museo Thyssen- BornemiszaPero Paternosto va incluso más allá incluso de esa objetualidad de la pintura. Sus piezas son objetos autoconscientes y poseen la virtud de presentarse a sí mismas, incluso sin la ayuda de su creador, explicando qué clase de objetos son, de dónde vienen y con qué obras de otros artistas dialogan, como, en este caso, con New York City, 3 (inacabado), Composición nº XIII / Composición 2 y Composición de colores / Composición nº 1 con rojo y azul de Mondrian, Hombre con clarinete de Picasso, Bodegón de Gris, y Madera planos de color, de Torres-García. 

Museo Nacional Thyssen-Bornemisza, Pº del Prado, 8. Balcón-mirador, 1ª planta. Madrid. Hasta el 28 de enero de 2018. Acceso gratuito desde el hall. 

 

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