La estética del silencio: Juan Muñoz y la esquizofonía

Abstract

This paper is intended to analyze the silence as an intrinsic aesthetic category postmodernist artistic approaches. Basis for this to poetic of a "rhizome" speech, where the work, material or immaterial no longer has a single reading, there is not a clear relationship between the signifier and the signified therefore it remains open polysemy that invites the recipient to set up your own way of approaching artistic experience. An experience that appears as a system that will facilitate its recognition in gossiping. Faced with these premises an empty room extends as meditation area for a Faustian experience, or as Calvin says, "as ordeal culminating in the conquest of the right to speak" [1]. However, the dialogue established body is orphaned, and a voice in which we distinguish the source appears. Therefore, we will establish what types of silence are emerging between the approaches of contemporary art: schizophonic, panophonic or conversion. We will approach specifically to the work of Juan Muñoz, as an example guarantor of a kind of silence where the estrangement stands as a bulwark in our own thoughts are held. To conclude as Cage said, that silence comes with its own devastating irony, "the silence is to have an empty space time and let it work with its magnetic property" [2].