Publication: Sin título (sobre Jesús Martínez Oliva)
Authors
Soriano Pérez, Daniel
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Escuela Internacional de Doctorado
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Rosón Villena, María ; Tejeda Martín, Isabel
Publisher
Universidad de Murcia
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DOI
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info:eu-repo/semantics/doctoralThesis
Description
Abstract
Esta tesis aborda el vacío historiográfico en torno a los artistas queer en el Estado español de los años 90, tomando como eje la obra de Jesús Martínez Oliva. A partir de una metodología cualitativa, afectiva y situada —basada en entrevistas, análisis de obra y archivo— se construye un relato que entrelaza deseo, VIH/sida, masculinidad como ejes centrales de su producción artística. El estudio reflexiona sobre cómo la estética de Martínez Oliva transforma los fluidos, el sexo y el cuerpo en imágenes poéticas atravesadas por la necesidad de continuar a pesar del VIH, por la construcción de la masculinidad, la educación y la homofobia.
Más allá del análisis formal, la tesis busca tejer una genealogía queer, vinculando generaciones y referentes olvidados, y propone una lectura que reconoce la dimensión lírica, simbólica y política de su obra. Es también un trabajo de memoria y reconocimiento.
Por ello planteamos los siguientes objetivos principales:
1. Analizar la producción artística de Jesús Martínez Oliva desde los 90 hasta nuestros días
2. Estudiar el contexto que rodea cada momento histórico de la producción del artista.
3. Abordar los modos de hacer (fabricar) en la producción llevada a cabo
Para poder cumplirlos nos servimos de una metodología cualitativa y se ha desarrollado en adecuación al proceso investigativo. Se ha realizado un análisis de contenidos a partir de bibliografía diversa —libros, tesis, textos críticos y catálogos— consultada en bibliotecas especializadas y plataformas digitales como Dialnet, Google Académico y The Internet Archive. Además, se ha accedido a materiales clave mediante redes informales de intercambio y, fundamentalmente, gracias al uso de la biblioteca y archivo personal de Jesús Martínez Oliva, lo que permitió conocer de cerca el pensamiento teórico que ha influido en su obra.
Asimismo, se han realizado entrevistas en profundidad: cinco con el propio artista, organizadas por cada uno de los capítulos temáticos (VIH/sida, masculinidad, cruising, educación, memorias queer), y otras con figuras relevantes como Pepe Miralles, Javier Codesal, Juan Vicente Aliaga y Jesús Carrillo, aportando contexto y multiplicidad de voces. Estas conversaciones conforman un archivo oral y afectivo que enriquece el análisis.
Cada capítulo parte de una obra específica como nodo central desde el cual se despliegan temas, teorías y referencias. Así, las obras no ilustran, sino que generan discurso, articulando pensamiento, experiencia y contexto desde la práctica artística.
Esta tesis parte de una inquietud personal y política: la necesidad de abordar el vacío historiográfico sobre artistas queer en el Estado español, especialmente en los años 90. Inspirado por el concepto de "grieta" de Isabel Cadenas, este trabajo se convierte en una exploración de aquello que le atraviesa: el deseo, el VIH/sida, la masculinidad, la limpieza y el dolor inscrito en los cuerpos queer.
La investigación se centra en la obra de Jesús Martínez Oliva, figura clave pero poco reconocida institucionalmente. Desde una metodología afectiva, oral y situada, basada en entrevistas, análisis de obra y archivo, se construye un relato que entrelaza cuerpo, memoria, deseo y política. Se reivindica una genealogía queer desde lo local, planteando conexiones entre generaciones y contextos, y señalando ausencias históricas aún por abordar.
La tesis reflexiona sobre las representaciones del sexo, el género y otras cuestiones relativas a la cultura marica, analizando cómo la obra de Martínez Oliva estetiza y poetiza los fluidos. Esta tesis es, en definitiva, un ejercicio de memoria, reconocimiento y resistencia queer.
This thesis addresses the historiographical void surrounding queer artists in Spain during the 1990s, focusing on the work of Jesús Martínez Oliva. Through a qualitative, affective, and situated methodology—based on interviews, artwork analysis, and archival research—it constructs a narrative that interweaves desire, HIV/AIDS, and masculinity as central themes in his artistic production. The study explores how Martínez Oliva’s aesthetic transforms bodily fluids, sex, and the body into poetic images, shaped by the need to persevere despite HIV, the construction of masculinity, education, and homophobia. Beyond formal analysis, this thesis aims to weave a queer genealogy by linking generations and forgotten references, proposing a reading that acknowledges the lyrical, symbolic, and political dimensions of his work. It is also an act of memory and recognition. The main objectives are: 1. To analyse Jesús Martínez Oliva’s artistic production from the 1990s to the present. 2. To study the historical contexts surrounding each phase of his work. 3. To examine his material and technical approaches to artmaking. The research relies on qualitative methods, shaped by the investigative process. It includes content analysis of a diverse bibliography—books, theses, critical texts, and exhibition catalogues—consulted in specialized libraries and online platforms such as Dialnet, Google Scholar, and The Internet Archive. Key materials were also accessed through informal exchange networks and, crucially, through the personal library and archive of Martínez Oliva, offering insight into the theoretical frameworks that have shaped his work. In-depth interviews were conducted: five with the artist himself, each aligned with the five main thematic chapters (HIV/AIDS, masculinity, cruising, education, queer memory), and others with relevant figures such as Pepe Miralles, Javier Codesal, Juan Vicente Aliaga, and Jesús Carrillo, contributing context and diverse perspectives. These conversations form an oral and affective archive that enriches the analysis. Each chapter begins with a specific artwork as a central node from which themes, theories, and references unfold. The artworks do not merely illustrate ideas—they generate discourse, articulating thought, experience, and context through artistic practice. This thesis emerges from a personal and political urgency: to confront the historiographical silence around queer artists in Spain, particularly in the 1990s. Inspired by Isabel Cadenas's notion of the “the crack”, it explores what pierces through the author: desire, HIV/AIDS, masculinity, cleanliness, and the pain inscribed in queer bodies. The research centres on the work of Martínez Oliva, a key but institutionally underrecognized figure. Through affective, oral, and situated methodologies, it constructs a narrative where body, memory, desire, and politics are deeply entangled. It reclaims a queer genealogy rooted in the local, drawing connections between generations and contexts, and highlighting historical absences still in need of attention. Ultimately, this thesis reflects on representations of sex, gender, and marica culture, analysing how Martínez Oliva’s work aestheticizes and poetizes fluids. It is, above all, a work of queer memory, recognition, and resistance
This thesis addresses the historiographical void surrounding queer artists in Spain during the 1990s, focusing on the work of Jesús Martínez Oliva. Through a qualitative, affective, and situated methodology—based on interviews, artwork analysis, and archival research—it constructs a narrative that interweaves desire, HIV/AIDS, and masculinity as central themes in his artistic production. The study explores how Martínez Oliva’s aesthetic transforms bodily fluids, sex, and the body into poetic images, shaped by the need to persevere despite HIV, the construction of masculinity, education, and homophobia. Beyond formal analysis, this thesis aims to weave a queer genealogy by linking generations and forgotten references, proposing a reading that acknowledges the lyrical, symbolic, and political dimensions of his work. It is also an act of memory and recognition. The main objectives are: 1. To analyse Jesús Martínez Oliva’s artistic production from the 1990s to the present. 2. To study the historical contexts surrounding each phase of his work. 3. To examine his material and technical approaches to artmaking. The research relies on qualitative methods, shaped by the investigative process. It includes content analysis of a diverse bibliography—books, theses, critical texts, and exhibition catalogues—consulted in specialized libraries and online platforms such as Dialnet, Google Scholar, and The Internet Archive. Key materials were also accessed through informal exchange networks and, crucially, through the personal library and archive of Martínez Oliva, offering insight into the theoretical frameworks that have shaped his work. In-depth interviews were conducted: five with the artist himself, each aligned with the five main thematic chapters (HIV/AIDS, masculinity, cruising, education, queer memory), and others with relevant figures such as Pepe Miralles, Javier Codesal, Juan Vicente Aliaga, and Jesús Carrillo, contributing context and diverse perspectives. These conversations form an oral and affective archive that enriches the analysis. Each chapter begins with a specific artwork as a central node from which themes, theories, and references unfold. The artworks do not merely illustrate ideas—they generate discourse, articulating thought, experience, and context through artistic practice. This thesis emerges from a personal and political urgency: to confront the historiographical silence around queer artists in Spain, particularly in the 1990s. Inspired by Isabel Cadenas's notion of the “the crack”, it explores what pierces through the author: desire, HIV/AIDS, masculinity, cleanliness, and the pain inscribed in queer bodies. The research centres on the work of Martínez Oliva, a key but institutionally underrecognized figure. Through affective, oral, and situated methodologies, it constructs a narrative where body, memory, desire, and politics are deeply entangled. It reclaims a queer genealogy rooted in the local, drawing connections between generations and contexts, and highlighting historical absences still in need of attention. Ultimately, this thesis reflects on representations of sex, gender, and marica culture, analysing how Martínez Oliva’s work aestheticizes and poetizes fluids. It is, above all, a work of queer memory, recognition, and resistance
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