Lo cotidiano en el arte

Abstract

The present research project entitled "The everyday in art" addresses everyday life not as becoming a social problem but as a territory in which significant referents fluctuate - that which surrounds, that surrounds the human being in his daily journey - and of which the artist exempt is not. Drawing and its current situation: from a millenary and utilitarian discipline to contemporary artistic strategy. For this, the Global-Art-fusion FAX Project is referenced in which Beuys, Warhol and Higashiyama participated, transmitting a message of peace in an intercontinental tour for 32 minutes. The drawing from the place of survival and emergency; thus referencing the successful comic strip by Mafalda and all that it meant to give voice and criticism to the convulsed Argentina of the 60's. Drawings that spend the night today in the collective identity of generation after generation surviving not because of their visual legacy but because of what it provokes in their reader. The national panorama shows a considerable contemporary production taking the city of Guayaquil as the epicenter, where the drawing - of importance for this study - is strategically approached in the project "Nacido-Criado Espacio Si lugar No" carried out by the brigade of cartoonists of the ITAE in conjunction with the University of the Arts of the same city. Locally, in terms of drawing as a contemporary artistic proposal, an invisibility is proposed. Considering it pertinent to refer to the first graphic approach that gave rise to this work as a significant-procedural process. The artist's notebooks or visual diaries are seen as containers of the everyday that in an intimate, personal process, is being built day by day; cited thus, the drawing legacy of Miguel Ángel Varea Maldonado from Quito and the construction of visual diaries as such, of Diego Humberto Molina from Cuenca. Everyday life and its historical gaze, where Duchamp's Fontaine is proposed as a starting point that generates disquisitions as soon as art was conceived and defined. For this, a definition of art is proposed from a philosophical point of view. Since Fontaine was an art-object, it meant the first approach to an everyday element for domestic use in the elitist spheres of art. Situation that this project takes to support the presence of the everyday on paper. We speak thus, of a representation of that everyday object and that, like Duchamp; take the drawings, take them out of their daily habitat (the artistic notebook / bloc) and take them to where they are also quite well known: the streets, towards the community. Thus configuring from drawing, an artistic exercise that is born as a daily practice. Where walking, seeing, observing and listening allows to articulate objects and text creating small visual compositions dated with time. No longer the common date format, which has a strict sequential character. Everything as a record of the daily life in which the artist, like any other being, is immersed. And finally, conditioned by the current pandemic situation; the approach arose regarding How to circulate the work of art? , which concluded in taking it to the streets, towards the community using the adhesive support as an intervention resource. And thus promote that work-spectator encounter, that experience, that reflective thinking.