{"id":141300,"date":"2026-01-12T18:01:12","date_gmt":"2026-01-12T18:01:12","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/estrategias-citacionales-y-otros-desplazamientos-en-la-plastica-actual\/"},"modified":"2026-01-12T18:01:12","modified_gmt":"2026-01-12T18:01:12","slug":"estrategias-citacionales-y-otros-desplazamientos-en-la-plastica-actual","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/estrategias-citacionales-y-otros-desplazamientos-en-la-plastica-actual\/","title":{"rendered":"Estrategias citacionales y otros desplazamientos en la plastica actual"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Alberto Galvez Gimenez <\/strong><\/h2>\n<p>Estudio y analisis de determinados comportamientos artisticos en la plastica contemporanea, que nos han llevado a sondear aspectos autorreferenciales como el uso de la cita en pintura, la parodia, el pastiche, la apropiacion, el museo como marco de referencia, e incluso el fenomeno de lo falso. El uso de estrategias citacionales en la pintura ha sido un fenomeno bastante extendido, sobre todo a raiz del declive de las vanguardias de los setenta. Bajo la pretendida moda posmoderna, se llego a convertir en un lugar comun para muchos artistas que se enfrentaban a la quiebra del proyecto moderno. La apropiacion  y la parodia ha sido una util herramienta para poner en crisis situaciones de complaciente anquilosamiento que el proyecto moderno habia propiciado, asi como para relanzar ese espiritu aletargado en abierta pugna contra antinomias rigidamente establecidas por el mercado y las instituciones como original\/copia, autentico\/inautentico, en ocasiones descentralizando el lugar del autor para poner el acento sobre el espectador.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Estrategias citacionales y otros desplazamientos en la plastica actual<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Estrategias citacionales y otros desplazamientos en la plastica actual <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Alberto Galvez Gimenez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Polit\u00e9cnica de Valencia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1992<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Jose Saborit Viguer<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Rafael S\u00e1nchez-carralero L\u00f3pez <\/li>\n<li> Martin Martin Julio Alberto (vocal)<\/li>\n<li>Juan  Miguel Company Ramon (vocal)<\/li>\n<li>Pere Salabert Sole (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Alberto Galvez Gimenez Estudio y analisis de determinados comportamientos artisticos en la plastica contemporanea, que nos han [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[147,3806,16820,1111],"tags":[256029,22743,12288,85083,34180,43251],"class_list":["post-141300","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-pintura","category-politecnica-de-valencia","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-alberto-galvez-gimenez","tag-jose-saborit-viguer","tag-juan-miguel-company-ramon","tag-martin-martin-julio-alberto","tag-pere-salabert-sole","tag-rafael-sanchez-carralero-lopez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/141300","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=141300"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/141300\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=141300"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=141300"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=141300"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}