Joan Castejón

Elvira Q.

fotonoticia_20150416112642-749169_260La realidad de lo imaginario, el documental sobre la vida y obra de Joan Castejón, uno de los artistas más importantes de la plástica española de postguerra, se ha estrenado este miércoles, día 15, en el Museo de Arte Moderno de Nueva York (MoMA). La presentación de la película, que saldrá a la venta en DVD a principios de mayo, estuvo a cargo del historiador de arte Carlos Arenas, que comparó “la universalidad y validez” de la obra de Castejón con la de grandes maestros de la tradición española como Carlos Saura o Josep Segrelles. La realidad de lo imaginario ha sido dirigida por el alicantino Artur Balder, ganador del Premio al Mejor Documental de la Asociación de Cronistas de Espectáculos de Nueva York por su obra sobre la historia de la emigración española en los Estados Unidos, Little Spain.

En el acto de presentación estuvieron personalidades de las artes y el espectáculo en la ciudad de Nueva York, como Fernando Campos, Manolo García-Oliva, Carlos Navedo, Gail Smith, la actriz Susan Rubyn, Jaime Obando o conocidos artistas de la escena neoyorquina como Tigran Tsitoghdzyan, David Shara y su esposa, la diseñadora Morgan Shara.
En el documental participan, entre otros, el Premio Cervantes de literatura, José Manuel Caballero Bonald, así como la de importantes figuras de la literatura española actual. Después de la presentación, Balder explicó que, tras el largo proceso de filmación, su trabajo acabó convirtiéndose en una reflexión “sobre la literatura en el arte, y en las manos de uno de los artistas más importantes de la plástica española de posguerra”.
Con este documental, busca “poner en valor un activo importante español” y realizar un trabajo en cine “lo más de autor posible”, que es lo que, en su opinión, conviene a un autor tan “personal” como Castejón, cuya “sencillez y valía son enormes”.

La película ahonda en la vida y obra de este artista, representante clave del realismo social español. Castejón nació en Elche, Alicante en 1945. Con 18 años se trasladó a Valencia para asistir como alumno libre a la escuela de Bellas Artes de San Carlos. Dos años después pintaba en el Sur de Francia y fue a conocer París. Con 21 años expuso su primera obra personal en la Galería Mateu de Valencia.

En mayo de 1967 fue reducido por la policía, tras salir en defensa de un manifestante durante las revueltas antifranquistas de obreros y estudiantes. Detenido, encarcelado y torturado, fue juzgado por un tribunal de Orden público y sometido a consejo de guerra. Su sentencia fueron seis años de cárcel.  Ese manifestante era el también pintor José Soler, Monjalés, que consiguió huir y acabó en el exilio.  Es el punto de arranque de una obra “que no había hecho más que comenzar”.

Se inició así una de las etapas más trágicas de su vida, pero también la más fecunda en cuanto a su producción artística. En efecto, los 2.000 dibujos que Joan Castejón generó en prisión durante los tres años de condena muestran ya tintes legendarios. Una gran parte de ellos eran de reclusos. La facilidad y la maestría de su dibujo son proverbiales.

Para el escritor Manuel Vicent la cárcel fue para él “casi una consecuencia”, no solo de su lucha política, sino “también de su compromiso frente al arte”.

Tal y como comentan algunos compañeros en el documental, a lo largo de la obra de Castejón se puede contemplar una influencia indirecta pero constante de la historia de España, con unas ideas muy reivindicativas de libertades y contrastes.
A través de sus entrevistas, el documental permite conocer y adentrarse desde las perspectivas capitales -poética, narrativa, histórica, mitológica, filosofía del arte- de la compleja obra de uno de los artistas más intelectuales de la última mitad del siglo XX. Como explicó Balder, Castejón es un “luchador infatigable por las libertades” y, tal y como lo define Caballero Bonald con milimétrica precisión en la película, cronista de la historia de España, Castejón es “un creador decididamente idealista, rico en ideas y de una destreza natural absoluta”. Según el propio artista, la cinta sigue la cronología de los hechos, fundamentalmente la etapa de los años 60 y 70, entre los que pasó varios años en prisión, hasta “desembocar en el momento actual, no tan oscuro y dramático como tiempos pasados”, ha recordado.
Tal y como Balder retrata al pintor, vemos a un Castejón que “gusta más de preguntas que de respuestas, más amigo del misterio de la vida que de los paradigmas a los que ésta es sometida”.

Desde 1974 el artista vive y trabaja en Denia, Valencia, ciudad que lo distinguió como Hijo Adoptivo, y a partir de esa fecha su obra empezó a estar representada en museos y colecciones privadas. Desde sus comienzos gran parte de su obra ha estado asociada al mundo literario, donde destacan las series y dibujos dedicadas o inspiradas en grandes novelas de la literatura universal, como El Quijote de Miguel de Cervantes o Cien años de Soledad de Gabriel García Márquez.

El mediometraje repasa, durante 63 minutos, las influencias que recibió el artista desde su adolescencia y las obras realizadas desde entonces, a través de entrevistas con familiares, artistas y amigos, entre los que figuran los escritores José Manuel Caballero Bonald, Premio Cervantes (2012) y Premio Nacional de Poesía (2006), y Manuel Vicent. También participa su hija Arminda García, junto con el director de la Cátedra Vargas Llosa, Juan Jesús Armas Marcelo; el presidente de la Real Academia de Bellas Artes San Carlos de Valencia, Román de la Calle; el historiador y crítico Tomás Llorens; el profesor de Historia del Arte Carlos Arenas y el coleccionista Tomás Ruiz.

José Manuel Caballero Bonald, amigo y compañero de Castejón, lo define en este documental como uno de “los grandes pintores de las últimas décadas”.

CastejónAsegura que si se pone en línea toda la obra de Castejón del último medio siglo “se va siguiendo la historia de España”, pues hay en ella “un reflejo indirecto, desde el compromiso político y social”, de la lucha clandestina, el acceso a la libertad y las conquistas sociales.

Para Manuel Vicent, el hecho de que Castejón haya estado en prisión es “casi una consecuencia, no de su lucha e idealismo político, sino también de su compromiso frente al arte”, y el coleccionista Tomás Ruiz destaca el hecho de poseer una obra de este pintor que resume “40 años de historia”.

El protagonista no habla en ningún momento, pero se le ve trabajar, pues, según destaca el director, elaboró ante la cámara una pieza de dos por cuatro metros que le llevó casi seis meses pintarla, gracias a lo cual se aprecia su modus operandi.

Además, la película contiene una sección de animación basada en alguno de los cuadros más emblemáticos, que cobran vida para “salir del cuadro sin dejar de ser el cuadro”.

Balder, quien reside de forma estable en Nueva York desde hace un año, ha explicado que la obra se estrena en el MoMA porque ya ha colaborado con este museo en otra ocasión, y porque le resulta “más factible trabajar con esta institución que con el Instituto Valenciano de Arte Moderno (IVAM)”. El escritor y cineasta ya estrenó en 2013, en el célebre museo neoyorquino, la película Ciria, pronnounced Thiria, en torno al pintor abstracto José Manuel Ciria.

Tras este estreno, La realidad de lo imaginario tiene previsto proyectarse en algún festival español, así como en México y Argentina, aunque todavía está por cerrar pues el proyecto acaba de “echar a andar”, reconoce su máximo responsable.

Podéis conocer más en:

http://joancastejon.com

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