relat de Kafka<\/a> en el qual un camperol intenta accedir al lloc on hi ha la llei. El preuat moment mai arriba, ja que un porter posposa la seva entrada eternament. La par\u00e0bola de Kafka, en la qual hi ha un dins i fora de la llei tradu\u00eft en termes d’espai, connecta no nom\u00e9s amb la fragilitat del camperol, extensible a la condici\u00f3 humana, sin\u00f3 tamb\u00e9 amb preguntes sobre qui determina la llei, per a qui, qui i com queda excl\u00f2s.<\/p>\nPer fer la reflexi\u00f3 m\u00e9s intemporal, o m\u00e9s actual, l’exposici\u00f3 parteix d’un moment hist\u00f2ric molt concret, els anys que van seguir a la Segona Guerra Mundial, com a paradigma de l’aniquilaci\u00f3 dels drets i la dignitat humana i l’enlla\u00e7a directament amb el moment present, en qu\u00e8 no hi ha hagut una gran guerra, per\u00f2 s\u00ed varies, disperses i continuades i fins i tot algunes submergides i en el qual l’\u00e9sser hum\u00e0 torna a ser extremadament vulnerable. Sembla que tenim acc\u00e9s a molta informaci\u00f3, que som conscients dels nostres drets, per\u00f2 al mateix temps hi ha signes contradictoris. Hem perdut la nostra llibertat? O l’hem guanyada? Existeix la possibilitat de que algun dia aparegui p\u00fablicament la pregunta de si encara ens podem permetre els drets humans?\u2028<\/p>\n
“Before the Law” \u00e9s una exposici\u00f3 cl\u00e0ssica tant per la seva aproximaci\u00f3 com per la seva presentaci\u00f3 formal. K\u00f6nig parla del potencial human\u00edstic de l’art contemporani, de la necessitat que l’art plantegi preguntes existencials. Les obres (escultures figuratives i instal\u00b7lacions, com se’ns anuncia des del subt\u00edtol de la mostra) respiren espai, no hi ha interfer\u00e8ncies entre elles, en tot cas, un fil connector que va guiant a l’espectador per les sales. Es deixa que les obres “parlin per si mateixes” (i sembla que ho fan). No hi ha una contextualitzaci\u00f3 espec\u00edfica, ni documents, ni publicacions, ni v\u00eddeos documentals o pel\u00b7l\u00edcules. I aix\u00f2 que el tema ho permetria. S\u00ed que es duen a terme diverses xerrades a diferents ciutats (Brussel\u00b7les, Londres, Colonia, Munich i Berl\u00edn). I s\u00ed que hi ha una confrontaci\u00f3, entre les escultures figuratives de postguerra, que transmeten tota la inseguretat i fragilitat que pot acompanyar a l’\u00e9sser hum\u00e0 i les instal\u00b7lacions m\u00e9s contempor\u00e0nies, m\u00e9s resignades i ir\u00f2niques. Mentre a les escultures de postguerra els \u00e9ssers que apareixen representats demanen a crits empara i protecci\u00f3, les propostes contempor\u00e0nies, que evoquen la mateixa fragilitat que les seves antecessores, ja no poden demanar aquest refugi, ja que saben que no existeix. I en aquesta contraposici\u00f3 es van tra\u00e7ant nombrosos recorreguts: el que s’inicia a l’escultura de la cama a\u00efllada (1958) d’Alberto Giacometti, segueix al carrusel que gira amb lenta agonia arrossegant els cad\u00e0vers d’animals de Bruce Nauman (1988), salta a la moneda de la sort (un diminut c\u00e8ntim exposat en una enorme vitrina) trobada per Andreas Slominski (1996) i acaba a l’arbre fragmentat i recomposat (1997\/2011) de Zoe Leonard. I, un altre possible itinerari que va des de la “Sibylla (Justitia)” (1957) que Joseph Beuys va fer per als jutjats de D\u00fcsseldorf, continua amb els conflictes sud-africans de “Felix in Exile” (1994) de William Kentridge, es recrea amb la manera despectiva amb que les autoritats nord-americanes (comen\u00e7ant pel propi Roosevelt) veien als indis americans a “Building a Nation” (2006) de Jimmie Durham, i conclou amb el remake dels burgesos de Calais (defensant una ciutat assetjada al segle XIV) convertits en “Br\u00f3dno People” (2010) de Pawel Althamer amb la col\u00b7laboraci\u00f3 de ciutadans de Br\u00f3dno, o les “exclusions” realitzades des del poder (legislatiu, executiu i judicial) a trav\u00e9s d’abundant material recollit per Andreas Siekmann a “Dante and Virgil walk through the World “(2011). Sembla que les coses han canviat molt durant aquest \u00faltim segle, per\u00f2 en alguns aspectes essencials estem m\u00e9s a prop de la postguerra del que ens imaginem.<\/p>\n
Al marge de la seva qualitat, indiscutible, “Before the law” \u00e9s una exposici\u00f3 h\u00e0bil en molts aspectes: funciona com a “statement curatorial”, incorpora el di\u00e0leg intergeneracional en incloure a Thomas Trumm com a co-comissari i la col\u00b7laboraci\u00f3 d’Anna Brohm i Andreas Prinzing , i inclou un nombre considerable d’obres de la col\u00b7lecci\u00f3 del propi museu.<\/p>\n
Foto: Achim Kukulies \u00a9 Pawel Althamer, Cortesia Sammlung Goetz<\/p>\n","protected":false},"excerpt":{"rendered":"
Kaspar K\u00f6nig es jubila i ho fa amb una exposici\u00f3 col\u00b7lectiva al Museu Ludwig de Colonia, la instituci\u00f3 que ha dirigit durant dotze anys. Amb “Before the Law”, K\u00f6nig torna…<\/p>\n","protected":false},"author":1239,"featured_media":11000,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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