Publication: Los modelos anónimos: la autoría oculta de un conjunto de artefactos industriales de Altos Hornos de Vizcaya
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2016-12-31
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UAM Ediciones
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Abstract
Este artículo se detiene en varios momentos clave de la biografía de unos artefactos industriales: los modelos para fundición de Altos Hornos de Vizcaya, empresa emblemática de la industrialización del País Vasco. Tras una fase de desecho y abandono cuando cierra la compañía en 1996, los modelos son rescatados y pasan a ser protagonistas de una exposición artística que los convierte en objetos dignos de admiración estética y en candidatos a formar parte del patrimonio cultural local. Sin embargo, no lo consiguen y, en un último giro, encuentran su sitio como objetos decorativos en el mercado de antigüedades. Es decir, como mercancías. Una deriva que está marcada por un elemento esencial: la aparente ausencia de autoría que permite, en todas sus fases, la apropiación e invisibilización del trabajo procedente de las comunidades obreras.
This paper focuses on three key episodes in the biography of a certain type of industrial artifacts: the castingmodels that belonged to Altos Hornos de Vizcaya, theflagship industrial company in the Basque Country during the past century. After being discarded as rubbishwhen the company closed in 1996, the models are rescued and, ultimately, exhibited in an art gallery. This transforms the models into aesthetically pleasingobjects and reinforces their candidacy to become part ofthe local protected cultural heritage. As they failed to doso, in the end, they find their way into the antiques market. A trajectory that is conditioned by a central issue: the apparent lack of authorship that allows the appropiation and the invisibilization of the work carried out by working class communities.
This paper focuses on three key episodes in the biography of a certain type of industrial artifacts: the castingmodels that belonged to Altos Hornos de Vizcaya, theflagship industrial company in the Basque Country during the past century. After being discarded as rubbishwhen the company closed in 1996, the models are rescued and, ultimately, exhibited in an art gallery. This transforms the models into aesthetically pleasingobjects and reinforces their candidacy to become part ofthe local protected cultural heritage. As they failed to doso, in the end, they find their way into the antiques market. A trajectory that is conditioned by a central issue: the apparent lack of authorship that allows the appropiation and the invisibilization of the work carried out by working class communities.
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Autoría, Objetualidad, Patrimonio industrial, Historia cultural, Ready made, Giro material, Clase obrera
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Fernández Vázquez, J. (2016). Los modelos anónimos. La autoría oculta de un conjunto de artefactos industriales de Altos Hornos de Vizcaya. Anuario del Departamento de Historia y Teoría del Arte, 28, pp. 55-71