CA2M<\/a> de M\u00f3stoles. Sota aquest ep\u00edgraf s\u00f3n m\u00faltiples les imatges que ens v\u00e9nen a la ment per\u00f2 conv\u00e9 pensar en aquesta “Estaci\u00f3n Experimental” i pensar, de nou, sobre el que, al seu dia, va dir John Cage: “L’art \u00e9s una mena d’estaci\u00f3 experimental”. A aix\u00f2 prossegueix el subt\u00edtol que els comissaris, Virginia Torrent i Andr\u00e9s Mengs, afegeixen: Investigaciones y fen\u00f3menos art\u00edsticos.<\/p>\nAssumint que la ci\u00e8ncia s’ho planteja tot, com entendre la falta de respostes que preval? Entrar aqu\u00ed ens conduiria, sens dubte, a una infinitat d’interrogants. Aix\u00ed que millor situem-nos en l’esfera d’all\u00f3 art\u00edstic i atenguem la proposta. Torrente ens avisa: vivim entre el m\u00f3n inventat i el m\u00f3n natural. La producci\u00f3 d’art en si es veu afectada per ambd\u00f3s.<\/p>\n
Des d’aqu\u00ed aconsegueixen tra\u00e7ar un recorregut que no nom\u00e9s permet replantejar q\u00fcestions comissarials (especialment en al\u00b7lusi\u00f3 a la vasta col\u00b7lecci\u00f3 de mostres regides per “all\u00f2 cronol\u00f2gic” o “all\u00f2 estil\u00edstic”): D’una banda, l’encertada selecci\u00f3 duta a terme (excepte en algun cas puntual) i de l’altra, i aqu\u00ed assenyalo al centre, la l\u00ednia que han sabut mantenir, amb criteri i especificitat, en relaci\u00f3 a l’atenci\u00f3 que exigeix \u200b\u200bart, ci\u00e8ncia i tecnologia (cal recordar algunes de les passades “feedback” -comissariada per Christiane Paul i Jemima Rellie o “Feedforward. El \u00c1ngel de la Historia” – mediada per Paul, de nou, i Steve Dietz).<\/p>\n
Els recorreguts, inexistents, permeten passejar per les sales sense establir un ordre, permeten apropar-se, necess\u00e0riament, des de la reflexi\u00f3 a un pensar de l’experi\u00e8ncia: literal. Aqu\u00ed entrem ja en certa pr\u00e0ctica propera al laboratori. Entrar, parar, experimentar, pensar. En l’ordre del producte, potser, rau la difer\u00e8ncia entre art i ci\u00e8ncia: pensar i experimentar? \u00bfExperimentar i pensar? (Cert tamb\u00e9 que en ambd\u00f3s la intu\u00efci\u00f3 es resol indispensable, ja ens ho va avisar Bergson). L’usuari es troba en una mena d’estructura, desorganitzada, sobre la qual va rebent est\u00edmuls originats en el que es genera en l’espai: imatges, sons, boires, distorsions cin\u00e8tiques. Conv\u00e9 atendre aquest estar de l’individu in situ, conv\u00e9 imaginar a qu\u00e8 ens exposem tamb\u00e9. La comparaci\u00f3 no \u00e9s gratu\u00efta, parar-se avui a qualsevol ciutat ens condueix a una mena de situaci\u00f3 paral\u00b7lela: moviment, imatge, soroll, fum. Existeix en el conjunt un gest de complicitat, una proposta que amaga hipertext i que, com a paradigma, \u00e9s l’\u00fanic que ens torna al lloc, a aquest situar-nos, sols, davant l’univers. Aqu\u00ed s’origina la voluntat cient\u00edfica, aqu\u00ed es dirigeix \u200b\u200bara el viatge infinit del saber cient\u00edfic. La mostra aconsegueix tornar-nos a un temps present des del qual podem pensar-nos. \u00c9s per aix\u00f2 que la relaci\u00f3 del conjunt t\u00e9 a veure amb all\u00f2 pol\u00edtic, \u00faltim fi per assumir. L’espai expositiu es revela com a par\u00e0bola del nostre clima social, clima que \u00e9s sempre una suma d’intencions pol\u00edtiques, econ\u00f2miques, cient\u00edfiques i art\u00edstiques, entre tantes altres.<\/p>\n
La gran majoria, sempre \u00e9s dif\u00edcil atendre col\u00b7lectives, de les peces es presenten des d’estadis en qu\u00e8 all\u00f2 fenomenol\u00f2gic estableix l’ordre del discurs. Una suma de proves i exercicis que donen visibilitat a la relaci\u00f3 existent entre els “fets” i aquest \u00e0mbit en el qual la realitat es fa present mitjan\u00e7ant la consci\u00e8ncia. Podr\u00edem pensar, de la mateixa manera en qu\u00e8 s’acusa a la fenomenologia, de no arribar a l\u00b4objecte en si, que les peces romanen en un grau d’incomprensi\u00f3 objectual, per\u00f2 atenent al fet art\u00edstic, val la pena matisar com es resolen a partir d\u00b4una indagaci\u00f3 personal amb l’entorn. Penso, per donar algun exemple: en “Serie Misfits” (2011) de Guillem Bayo, per la qual una m\u00e0nega ens percep i, llavors, reacciona, “Despect\u00e1culo” (2011) de Luis Bisbe, qui a partir d’explorar l’espai, ens el torna; “Demonstrations” (2005-2008) de Caleb Charland, fotografies que ens dirigeixen a all\u00f2 inexplicable; “Tones in the voice of Shadows” (2011) d’Esther Ma\u00f1as i Arash Moori, on so, llum i espai enclaven experi\u00e8ncia, o, la instal\u00b7laci\u00f3 “Physical Geology (New Landmass \/ Fast Time)” (2009) de Iliana Halperin, per la qual l’artista combina experi\u00e8ncia personal i teoria cient\u00edfica per tal de donar resposta a la idea del temps geol\u00f2gic. La recerca porta a l’experi\u00e8ncia, no hi ha altra, aix\u00ed es presenten els grinyols de “Sound Machines” (2009) d’O Grivo a l’espai, a aquest que ens torna a un aqu\u00ed i ara contemporani a trav\u00e9s de la inquietud ac\u00fastica que despleguen . Tamb\u00e9 all\u00f2 pol\u00edtic apareix com enigma del present mitjan\u00e7ant “The limitations of Logic and the Absence of Absolute Certainly” (2010) d\u00b4Alistair McClymont, un tornado que sense deixar de rememorar aquesta p\u00e8rdua de l’individu en el camp social, aconsegueix q\u00fcestionar tamb\u00e9 la naturalesa del fet expositiu.<\/p>\n
Sobre l’ordre al qu\u00e8 al\u00b7ludia m\u00e9s amunt, dir, que es presenta com caos, equaci\u00f3 resolta. Met\u00e0fora servida d’un univers amb ordre propi i d’explicaci\u00f3 an\u00e0rquica. Part\u00edcules (les peces) que des del recon\u00e8ixer-se en canvi constant estableixen un sistema propi basat en aquesta “experientia”, d’her\u00e8ncia llatina, que genera coneixement a partir de viv\u00e8ncies m\u00faltiples.<\/p>\n","protected":false},"excerpt":{"rendered":"
Entendre l’art com un lloc per a l’experimentaci\u00f3 i acostar-se a la ci\u00e8ncia per trencar amb els llocs tancats i els principis assumits. L’exposici\u00f3 “Estaci\u00f3n Experimental” \u00e9s un punt de…<\/p>\n","protected":false},"author":1264,"featured_media":11055,"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":[5730,5543],"coauthors":[],"acf":[],"yoast_head":"\n
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