{"id":23491,"date":"2018-02-26T06:10:26","date_gmt":"2018-02-26T05:10:26","guid":{"rendered":"http:\/\/a-desk.org\/?p=23491"},"modified":"2018-05-02T15:13:07","modified_gmt":"2018-05-02T14:13:07","slug":"arco18","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/arco18\/","title":{"rendered":"ARCO’18"},"content":{"rendered":"

Cada cop que visito ARCO (o qualsevol altra fira d’art) no puc deixar de pensar en el dificl paper de les galeries en un moment en que artistes, institucions, cr\u00edtics, comissaris i fins i tot col\u00b7leccionistes fa temps que han redefinit els seus papers. En una conversa recent, una galerista alemanya recordava com en els 90, institucions i mercat seguien dos camins paral\u00b7lels, amb algun intercanvi puntual. Ara mateix, no nom\u00e9s estan absolutament interconnectats, sin\u00f3 que, massa sovint, fires i biennals arriben fins i tot a intercanviar papers. D’una banda, amb projectes d’artistes que es mostren a biennals, amb el suport, el finan\u00e7ament i la gesti\u00f3 de galeries potents, amb una influ\u00e8ncia i visibilitat en el mercat que pocs stands de fira poden oferir. D’altra banda, tamb\u00e9 veiem el cam\u00ed invers, programes comissariats a fires que es converteixen en un espai m\u00e9s de treball per a comissaris independents, estrelles d’aquesta nova classe social de precaris culturals.<\/p>\n

Per\u00f2 si cada fira t\u00e9 la seva idiosincrasia, ARCO encara m\u00e9s, perqu\u00e9 neix a l’Espanya dels anys 80, un context i un moment de “modernitzaci\u00f3 del pa\u00eds” (que ara veiem que no ho era tant) i que ha desenvolupat un paper d’introducci\u00f3 a l’art contemporani, creaci\u00f3 de mercat, educaci\u00f3 de nous professionals i lloc de trobada \u00a0(professional, social i de diversi\u00f3 -en aquest punt Madrid sempre t\u00e9 molt a oferir).<\/p>\n

ARCO 2018 segueix potenciant aquest aspecte de lloc de trobada indiscutible que va m\u00e9s enll\u00e0 de la pr\u00f2pia fira, amb sessions de treball a porta tancada entre responsables d’institucions i amb debats i presentacions oberts a tots els p\u00fablics. En aquest sentit, \u00e9s esgotadora. Com en una speed date<\/em>, els i les galeristes traten d’explicar de manera sint\u00e8tica la complexitat d’uns treballs en els quals \u00e9s impossible entrar en uns pocs segons. Per\u00f2, en realitat, aquest \u00e9s el nostre present, una acumulaci\u00f3 d’inputs<\/em>, d’ imatges, idees, not\u00edcies, novetats i fets als quals no podem destinar m\u00e9s d’uns minuts o una llegida r\u00e0pida de titulars.<\/p>\n

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Dit aix\u00f2, \u00e9s cert que ARCO 2018 no \u00e9s una edici\u00f3 estrident ni sorollosa, al contrari, hi ha una certa moderaci\u00f3 en els treballs presentats i tot est\u00e0 molt mesurat i ordenat. Mentre els stands espectaculars i “unlimited” es deixen per a Basel, a ARCO es troben obres accessibles, pel que fa a dimensions i tamb\u00e9 a preus. En el seu cam\u00ed per trobar el seu lloc en el competitiu m\u00f3n de les fires, fa temps que ARCO aposta per valors de futur, emerg\u00e8ncia i espais comissariats.<\/p>\n

El futur \u00e9s precisament el pa\u00eds convidats aquest any. B\u00e9, no \u00e9s exactament aix\u00ed, per\u00f2 s\u00ed que ocupa un espai central i elevat, dissenyat per Andr\u00e9s Jaque, en el qual les comiss\u00e0ries\u00a0Chus Mart\u00ednez, Rosa Lle\u00f3 i Elise Lammer han encarregat nous treballs a 19 artistes. En un espai de color verd que recorda la gespa artificial en la qual poder relaxar-se o jugar, per\u00f2 tamb\u00e9 a un verd croma, en el qual es pot projectar tot all\u00f2 que vulguem, els i les artistes mostren no ja un futur, sin\u00f3 un present que s’hauria de poder projectar en el futur. En les ant\u00edpodes de\u00a0Black Mirror<\/em>, els treballs de\u00a0Regina Gim\u00e9nez, Eva F\u00e0bregas, Teresa Solar o J\u00falius Koller, entre altres, parlen de nomadisme,\u00a0DIY, relacions intergeneracionals, sostenibilitat, superviv\u00e8ncia i creativitat. I, indirectament parlen de la necessitat de l’exist\u00e8ncia del propi art com a espai de llibertat si \u00e9s que volem que realment existeixi un futur.<\/p>\n

\"\"<\/p>\n

Per\u00f2 seguim en el present i el recorregut per ARCO sempre aporta moments gratificants. Aqu\u00ed van alguns en forma desordenada: els moments musicals a Hauser & Wirth, per gentilesa de Dan Graham; la instal\u00b7laci\u00f3 Extra<\/em> en la que Candice Breitz fa de idem (Kow); Momu & No Es (Joey Ramone), l’aproximaci\u00f3 human\u00edstico-cient\u00edfica de Pep Vidal a ADN galeria i a Lmno; l’inventari d’elements del vesturari d’una dona de Hans-Peter Feldmann (ProjecteSD); els c\u00f2mics que s’expandeixen en l’espai de \u00a0Francesc Ruiz (Estrany- de la Mota), les relacions cos-espai de Sigurdur Gudmundsson o familiars de Ragnar Kjartansson (i8) \u00a0o \u201dles pintures fetes per altres\u201d de Ryan Gander a Esther Schipper i d’Enric Farr\u00e9s Duran a noguerasblanchard; entre molt\u00edssims altres.<\/p>\n

\"\"<\/p>\n

Per\u00f2 ARCO no \u00e9s una bombolla inexpugnable i la controv\u00e8rsia i la irritaci\u00f3 del present tamb\u00e9 s’han colat a la fira, fins i tot abans de la inauguraci\u00f3. La pol\u00e8mica creada per la retirada de l’obra de Santiago Sierra \u201cPresos pol\u00edticos en la Espa\u00f1a contempor\u00e1nea\u201d es un s\u00edmptoma d’un aqu\u00ed i ara en el qual la llibertat d’expressi\u00f3 s’est\u00e0 vulnerant i, el que \u00e9s pitjor, la den\u00fancia d’aquest fet a molts els pot resultar molesta o que cansa. La realitat \u00e9s molt m\u00e9s cruel, perqu\u00e9 el que est\u00e0 sent desmantellat \u00e9s el reconeixement dels drets humans que tant va costar d’aconseguir. Fa temps que a la foto pol\u00e8mica d’ARCO als mitjans de comunicaci\u00f3 no apareix cap obra d’Eugenio Merino, que \u00e9s qui aquest any, crec, ha realitzat el retrat m\u00e9s fidel del nostre present.<\/p>\n

\"\"<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Cada cop que visito ARCO (o qualsevol altra fira d’art) no puc deixar de pensar en el dificl paper de les galeries en un moment en que artistes, institucions, cr\u00edtics,…<\/p>\n","protected":false},"author":1239,"featured_media":23462,"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":[5940],"tags":[],"coauthors":[6368],"acf":[],"yoast_head":"\nARCO'18 – 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\" 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