{"id":11096,"date":"2012-04-02T05:43:20","date_gmt":"2012-04-02T05:43:20","guid":{"rendered":"http:\/\/a-desk.org\/2012\/04\/02\/sobre-el-temps-i-lexperiencia\/"},"modified":"2012-04-02T05:43:20","modified_gmt":"2012-04-02T05:43:20","slug":"sobre-el-temps-i-lexperiencia","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/sobre-el-temps-i-lexperiencia\/","title":{"rendered":"Sobre el temps i l’experi\u00e8ncia"},"content":{"rendered":"

Molts artistes es proposen explorar els l\u00edmits del museu, q\u00fcestionar la instituci\u00f3 o redefinir la pr\u00e0ctica art\u00edstica. Per\u00f2, sovint, no \u00e9s des de les grans visions, sin\u00f3 des de la simplicitat com es poden posar en dubte totes les categories que a priori semblen inamovibles. Xavier Le Roy a la Fundaci\u00f3 T\u00e0pies s’acosta a diverses preguntes clau sobre l’experi\u00e8ncia art\u00edstica.<\/p>\n


\nBruce Nauman ho va intentar creant passadissos impossibles que posaven l’espectador en situacions de gran incomoditat; Dan Graham va confrontar el p\u00fablic amb la seva pr\u00f2pia imatge; Abramovic\/Ulay van obligar al visitant a entrar a la sala d’exposici\u00f3 per l’estret passad\u00eds que permetien amb els seus cossos nus. Si alguna cosa tenen en com\u00fa totes aquestes experi\u00e8ncies \u00e9s el fet que en certa mesura modificaven l’experi\u00e8ncia de l’espectador i l’obligaven a comportar-se d’una manera diferent a l’habitual en un museu. Uns anys m\u00e9s tard, Rirkrit Tiravanija, Philippe Parreno i d\u00b4altres tamb\u00e9 van crear situacions noves en les institucions, cuinant o organitzant xerrades. De nou, el canvi en el temps i l’experi\u00e8ncia de l’espectador modificaven completament el rol i la percepci\u00f3 de la instituci\u00f3.<\/p>\n

\u2028\u2028Xavier Le Roy ens ofereix aquests dies la possibilitat d’experimentar la Fundaci\u00f3 T\u00e0pies d’una manera totalment diferent tant temporal com espaialment. La “Retrospectiva” que proposa prov\u00e9 de l’experi\u00e8ncia retrospectiva dels int\u00e8rprets en relaci\u00f3 a alguns solos de les seves coreografies. Sense v\u00eddeos, objectes ni documents desactivats (a excepci\u00f3 d’un dels espais), les sales buides de la Fundaci\u00f3 estan ocupades per sis int\u00e8rprets que recreen fragments, inicien una conversa amb el visitant i li expliquen aspectes de la seva experi\u00e8ncia personal en relaci\u00f3 a la pe\u00e7a. En realitat, la simplicitat amaga un mecanisme una mica m\u00e9s sofisticat en el qual la posada en escena contempla no nom\u00e9s les tipologies dels solos que s’evoquen i all\u00f2 que s’explica, sin\u00f3 tamb\u00e9 les entrades i sortides dels int\u00e8rprets en relaci\u00f3 a l’entrada de nous visitants o l’equilibri entre els aspectes m\u00e9s interactius i els performatius.<\/p>\n

\u2028\u2028Com a visitant o espectador, els codis s\u00f3n clars tant en un espai d’exposicions com en un teatre. Per\u00f2 qu\u00e8 passa quan els codis s’intercanvien? Doncs que temps i espai es veuen totalment alterats. No hi ha cartel\u00b7les, ni textos explicatius, \u00e9s \u00fanicament la viv\u00e8ncia del que se’ns explica i el com ho incorporem a la nostra experi\u00e8ncia el que genera una nova percepci\u00f3 en relaci\u00f3 al treball de Le Roy i en relaci\u00f3 a la pr\u00f2pia instituci\u00f3. Despullats de teories, prejudicis o cuirasses, el visitant es veu confrontat a una experi\u00e8ncia real. I, en aquest sentit, no pot deixar d’apar\u00e8ixer la refer\u00e8ncia a Tino Sehgal, a qui A*DESK va dedicar un article fa temps<\/a> i qui, per cert, va formar part de la companyia de Le Roy en diversos projectes. A les “situacions constru\u00efdes” de Sehgal pot passar que els gu\u00e0rdies de seguretat del museu realitzen estranyes coreografies, que diverses parelles vagin recreant petons c\u00e8lebres de la hist\u00f2ria de l’art o que el visitant sigui preguntat per un nen sobre qu\u00e8 creu que \u00e9s el progr\u00e9s.<\/p>\n

\u2028\u2028A “Retrospectiva” podem saber qu\u00e8 feien els diferents int\u00e8rprets en el moment en que Xavier Le Roy presentava alguna de les seves coreografies i podem dialogar sobre la nostra pr\u00f2pia experi\u00e8ncia. L’obra acaba fent-se a partir de les interpretacions, el temps i el propi espectador, \u00e9s el resultat de la interacci\u00f3 entre p\u00fablic i int\u00e8rpret. Des de la simplicitat i el contacte directe es redefineix qu\u00e8 \u00e9s l’obra i quins s\u00f3n els papers d’artista, espectador i int\u00e8rpret.<\/p>\n

\u2028\u2028Pot sonar a t\u00f2pic, per\u00f2 \u00e9s cert que vivim un canvi de paradigma. Existeix un conflicte entre la visi\u00f3 patrimonialista de l’art, d’aquells objectes i documents que cal preservar i una altra aproximaci\u00f3 que respon a un canvi en les maneres de produir, distribuir, presentar, percebre i, per descomptat, preservar i col\u00b7leccionar. Tino Sehgal \u00e9s present en el circuit art\u00edstic, per\u00f2 no permet que els seus treballs es comercialitzin de manera tradicional. Prima l’experi\u00e8ncia present per sobre de la mem\u00f2ria. Des de la coher\u00e8ncia, redefineix les convencions del mercat per evitar caure en el mateix parany que els conceptuals. Xavier Le Roy presenta les seves coreografies en teatres i tamb\u00e9 en el circuit art\u00edstic. D\u00f3na pes a la pres\u00e8ncia, l’experi\u00e8ncia i la representaci\u00f3. Els registres documentals s\u00f3n aix\u00f2, documents per ser consultats, no comercialitzats. Les preguntes resten pendents: quin \u00e9s el paper de la instituci\u00f3?, de l’espectador?, de l’obra\/la pe\u00e7a\/el treball?. Propostes com la de Le Roy i d\u00b4altres posen en joc tots aquests interrogants.<\/p>\n","protected":false},"excerpt":{"rendered":"

Molts artistes es proposen explorar els l\u00edmits del museu, q\u00fcestionar la instituci\u00f3 o redefinir la pr\u00e0ctica art\u00edstica. Per\u00f2, sovint, no \u00e9s des de les grans visions, sin\u00f3 des de la…<\/p>\n","protected":false},"author":1239,"featured_media":11095,"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":[5637,5899],"coauthors":[],"acf":[],"yoast_head":"\nSobre el temps i l'experi\u00e8ncia – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/magazine\/sobre-el-tiempo-y-la-experiencia\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sobre el temps i l'experi\u00e8ncia – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Molts artistes es proposen explorar els l\u00edmits del museu, q\u00fcestionar la instituci\u00f3 o redefinir la pr\u00e0ctica art\u00edstica. 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