The discourse of the present work, Painting mural and outer publicity. Of the
aesthetic function to the public dimension, one articulates from the premise that
defends a secular relation between art and functionality, already established by the
painting mural from the Paleolithic. When analyzing a painting mural of monumental
character, we mean of considerable surface, located in the public space
and integrated in the architecture that sustains it and in the architecture of the
surroundings. We observe that, at least, three types of functions coexist: the aesthetic,
the decorative and the advertising. The complexity of this association forces
us to draw up a chronological route to demonstrate the successive functional displacements
that the painting mural has undergone throughout history. At the
same time, another approach to the nucleus of our hypothesis, takes us to locate
to the painting mural and the outer publicity in antinomic places of which generically
it can be understood like the world of the image. Painting and publicity are
two different activities of the intellect and independent, in no case it can be spoken
of identity; but it is not an obstacle to drawing relations between the painting
mural and the outer publicity, since during the 20th century, the contaminations
and transmissions between the Art and the Publicity have been mutual and
reciprocal. The baseline differences between the art and the publicity, basically,
make reference to the intentionality and the use of the image and the word. The
advertising image and the pictorial one share morphologic aspects (relations of
color, balance and dynamics of the masses, shade values, texture, etc.) but they
are different in the semantic aspect.Both, with or without text, are inserted within
messages; the advertising message is necessarily decodable with respect to a conventional
code, known by the emitter and the receiver. The publicity must convey
its meaning with much clarity ; their emitted messages must be understood by
thousand of consumers of different cultures and social classes. The artistic message,
if we can call it thus, is polysemic (particularly in the contemporary work of
art) and it is characterized fundamentally by the destruction or restoration of private
codes. It works like the maneuvers of communication when not closing the
circuit. Also, a common benefit of poetic rhetoric in painting and publicity is sharing
figures with divergent intention: metonymies, visual metaphors, ellipsis, repetitions
and hyperboles and litotes.
Our method of work faces dialectically the categories "mural painting" and
"outer publicity"; it begins by establishing a general classification and historical
revision of the supports of the image, to limit the functions carried out by this in
scopes so apparently different. It reasons his foundations separately, and it investigates
the tools used in the history of the production of images, establishing the
specificities, the coincidences and the divergences between the mural and the
advertising fence. In the second part of the investigation we analyzed images of
renown publicists: Bill Bernbach, Danny Doyle, Jay Chiat, Guy Day, Leo Burnett,
Charles and Maurice Saatchi, and Oliviero Toscani. The images were chosen
based on: chronological dating, from the years '60s to the '90s of the 20th century;
relevance with respect to the connections between art and "the concept of
creative publicity"; and adjustment to justify the functional displacements in the
use of the image. The third part of the thesis consist of a practical contribution.
It includes two projects of intervention with digital images of great format made
by ink jet printers, with reliable inks, on sticky vinyl on a dividing wall, and two
projects more of similar technical characteristics, but on micro perforated canvas
mounted on scaffold, for a period of many months, on facades undergoing cleaning
or rehabilitation. We considered pertinent the direction of the didactic project
by the novelty of the support and the fact it constitutes a new field of plastic
performance.