|Natura, betidanik izan da artearen gai, errealitateko atal bat den aldetik, eta artearen zereginetako bat errealitate hori irudikatzea delako. Bainan mendeatan egia izan den hori aldatu egin da azken ehun urteotan. Lehenagotik ere ikus daitezke aldaketa horren arrastoak, bainan XX.mendearen hasieran ematen diren arte proposamen berriek ahalbidetzen dute ordurarte pentsaezina zen ikuspegia.
Picassok gorria margotu beharrean, errealitatean berez gorri zen ohial zati bat hartu eta margolanean itsasten duenean, izugarrizko iraultza inauguratzen du. Ordurarte irudikatzen zena, bere hortan hartu eta artelan bihurtzen du, collageren eta assemblageren bidea ireikiz. Ordutik hona errealitateko amaierarik gabeko gauzen zerrenda artearen zati bezala ikusten ohitu gara. Garai beretsukoa da ere Duchampen ready madea.
Testuinguru honetan kokatu behar dira bost hamarkada geroago naturaren inguruan ematen hasten diren haren inguruko arte eragiketak: mendeetan zehar era guztietara irudikatua izan zen natura, bere hortan hartu eta artelan bihurtzen da. Fenomeno hori Ameriketan eta Europan aldi berean bainan modu desberdinean ematen da.
Nire tesiaren izenburua ¿Izadiaren arteak arteari izaera¿da. Naturaren ordez izadi deitura hautatu genuen izen burua jarri genionean. Natura deiturak ez bait zigun izadiak ematen zigun hitz jokua eskeintzen.
Gertatu zitzaigun ere ez genekiela nola izendatu naturaren inguruan emandako arte proposamen guztiak. Eta denak bildu asmoz Izadia-n/-z/-rekin deitura hartu genuen.
Tesia bera ¿Belar negutegiak¿ izeneko landa lan batekin hasten zen, eta zortzi ataletan ahalegindu ginen gaia dela eta, proposamen konkretuak, aurrekari teorikoak, irazki kontzeptuala eta bibliografi zabala jasotzen. Guztia 537 orrialdetan. 1996. urtean.FROM NATURE¿S ART TO THE NATURE OF ART
Nature has always been a subject matter for art, given that it is part of reality and one of the purposes of art is to portray reality. But while this has long been true, it has changed in the last hundred years. While hints of this change may be perceived earlier, it is at the beginning of the twentieth century that a previously unimaginable perspective arose based on new artistic principles.
When Picasso, instead of painting red, took a piece of actual red cloth and stuck it on one of his paintings, he inaugurated a gigantic revolution. What he has done is to take something that previously would only have been portrayed, and instead turns it into part of a work of art, giving us collage and assemblage. We have since become accustomed to seeing countless bits of reality turned into parts of art. Duchamp¿s ready made style dates from the same period.
This is the context in which, five decades later, artistic currents began to emerge concerned with nature. Nature had been represented in art works for centuries; now it was taken as is and converted into art itself. This phenomenon occurred in different manners in both American and Europe.
The title of my thesis, Izadiaren arteak arteari izaera, means something like ¿From nature¿s art to the nature of art¿. The term izadi was chosen, rather than the synonym natura, because the latter, though more common, does not admit the same play on words.
It was hard to decide how to denominate the whole range of artistic approaches concerning nature; as a cover term we adopted the designation In/of/through nature.
The thesis commences with a piece of fieldwork titled Belar negutegiak ¿Grass greenhouses¿, and the following eight parts include specific proposals, theoretical precedents, a conceptual framework and a bibliography. In total, 537 pages. Completed in 1996.
