{"id":25221,"date":"2019-02-04T06:00:06","date_gmt":"2019-02-04T05:00:06","guid":{"rendered":"http:\/\/a-desk.org\/?p=25221"},"modified":"2019-02-05T16:23:27","modified_gmt":"2019-02-05T15:23:27","slug":"12-5_epileg","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/12-5_epileg\/","title":{"rendered":"12.5_Ep\u00edleg"},"content":{"rendered":"

(…) I un cop explicitades les conclusions d\u2019aquesta tesi, donem pas a un ep\u00edleg de tancament,\u00a0 quatre paraules per sintetitzar tot all\u00f2 exposat fins ara.<\/p>\n

12.5_Ep\u00edleg<\/p>\n

Aquest apartat es configura com una s\u00edntesi del proc\u00e9s d\u2019investigaci\u00f3 portat a terme en els \u00faltims quatre anys, en el qual he pogut analitzar des d\u2019una perspectiva te\u00f2rica i cr\u00edtica els punts claus que configuren aquesta investigaci\u00f3. Tal com he pogut comprovar des d\u2019una posici\u00f3 emp\u00edrica, hem de dir que no podem concloure res. La conclusi\u00f3 tanca un proc\u00e9s que es vol obert, i que, de fet, es el propi proc\u00e9s d\u2019investigaci\u00f3 \u2013en marxa\u2013 el que dona sentit a la pr\u00e0ctica art\u00edstica. La conclusi\u00f3 doncs, a mode de tancament, no deixa de ser un formalisme m\u00e9s, un espai de s\u00edntesi \u2013de tot all\u00f2 exposat fins ara\u2013 que se situa al marge. O trajeto \u00e9 a minha obra <\/em>que deia l\u2019any 1978 en una postal l\u2019artista conceptual brasiler Paulo Bruscky, i crec que te prou ra\u00f3. Tot i que per ser sincer, no me\u2019n vaig adonar fins fa poc temps. Quan llegia aquesta postal, \u2013no s\u00e9 perqu\u00e8\u2013 entenia que deia alguna cosa com: El tarjeto, el tarjet\u00f3n<\/em>, la tarjeta<\/em>. Entenent que el que anunciava era que la targeta \u2013personal, la invitaci\u00f3 de l\u2019exposici\u00f3\u2013 era la seva obra. Una mica com en Marcel Broodthaers i la seva c\u00e9lebre invitaci\u00f3 a la primera exposici\u00f3 que va realitzar (…)<\/p>\n

\u201cYo tambi\u00e9n me he preguntado si no podr\u00eda vender algo y triunfar en la vida. Hace ya un tiempo que nada se me da bien. Tengo 40 a\u00f1os…<\/p>\n

Finalmente se me pas\u00f3 por la cabeza la idea de inventar algo insincero y me puse manos a la obra. Al cabo de tres meses, mostr\u00e9 el resultado a Ph. \u00c9douard Toussaint, propietario de la Galerie Saint-Laurent.<\/p>\n

‘Pero si es arte’ dijo, ‘y lo expondr\u00e9 todo encantado’.<\/p>\n

‘De acuerdo’, le contest\u00e9. Si vendo algo se quedar\u00e1 con el 30%. Por lo visto son las condiciones normales. Algunas galer\u00edas se llevan hasta el 75%. \u00bfY qu\u00e9 es todo esto? En realidad, objetos\u201d.<\/p>\n

Inventant\u00a0algo insincero <\/em>ens presenta un dels textos m\u00e9s sincers que he llegit mai en una invitaci\u00f3. Per\u00f3 tornant al tema, gr\u00e0cies a aquesta confusi\u00f3, vaig entendre la potencialitat d\u2019all\u00f2 que queda al marge de l\u2019exposici\u00f3. S\u00f3n tots aquells elements que envolten qui sap qu\u00e8 \u2013(…) En realidad, objetos\u2013, elements comunicatius que configuren precisament el sentit, que el fan possible, que envolten la cosa i, des del marge, no modifiquen el seu significat, sin\u00f3 que el constitueixen. Com la cartel\u00b7la m\u00e9s antiga del m\u00f3n \u2013any 2985 aC\u2013 feta amb ullal d\u2019hipop\u00f2tam i guardada al British Museum tal com ens explica en Jorge Blasco a l\u2019article “Lo que siempre queda del arte“. <\/em>Gr\u00e0cies a aquesta cartel\u00b7la podem saber quines sand\u00e0lies portava el fara\u00f3, com volia que se\u2019l record\u00e9s i quin era l\u2019estatut d\u2019aquell objecte en aquell context. I de les sand\u00e0lies no en queda ni rastre. \u00c9s tant senzill com la possibilitat d\u2019atorgar dades als objectes, definicions que en construeixen el sentit. \u00c9s el poder dels processos de catalogaci\u00f3 dins els arxius, de l\u2019aplicaci\u00f3 de les etiquetes, d\u2019indexacions d\u2019informaci\u00f3, dels t\u00edtols. De les paraules i les coses. La suposada arbitrarietat d\u2019associar informaci\u00f3 a all\u00f2 que ens envolta, una informaci\u00f3 que per definici\u00f3 queda al marge, que acompanya. Que situa i contextualitza. Que polititza. Alguna cosa semblant far\u00e0 algun dia, si alg\u00fa li deixa, la comiss\u00e0ria i cr\u00edtica Joana Hurtado: deixar\u00e0 la sala d\u2019exposicions buida per anar a l\u2019arxiu a recuperar tot aquell material que ha generat cada una de les obres que suposadament estaran exposades. Totes les cartel\u00b7les, fulls de sala, dossiers de premsa, etc. que fan refer\u00e8ncia a cada una de les peces es mostraran a l\u2019exposici\u00f3. Com una esp\u00e8cie de palimpsest ens trobarem totes les capes d\u2019informaci\u00f3. Res a veure, tot a entendre. No s\u00e9 si ser\u00e0 exactament aix\u00ed per\u00f2 el fet es que d\u2019aquesta manera la mediaci\u00f3 es col\u00b7locar\u00e0 al centre i s\u2019enfocar\u00e0 de ple el problema dels esencialismes al voltant de les peces. Possiblement l\u2019acumulaci\u00f3 d\u2019informaci\u00f3 fa que aquesta s\u2019ens presenti un tant absurda, i aquests subt\u00edtols <\/em>de les obres \u2013males traduccions, resums sintetitzadors?\u2013 com un g\u00e8nere m\u00e9s. En aquest sentit trobem en l\u2019exposici\u00f3 Solo<\/em>que en Ruben Grilo va presentar a la galeria Nogueras Blanchard com en el full de sala \u2013o de fet, qualsevol text que acompanya l\u2019exposici\u00f3\u2013 hi indica la seg\u00fcent informaci\u00f3: solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo solo.M\u00e9s enll\u00e0 d\u2019evitar possibles males sintetitzacions de l\u2019exposici\u00f3 potser el que hi ha aqu\u00ed es una voluntat de control de l\u2019espai que fa possible l\u2019exposici\u00f3, de les condicions de possibilitat que la permeten, de com ens hi relacionem o el context que li dona sentit. De fet, podem afirmar que est\u00e0 controlant un dels accessos a l\u2019exposici\u00f3, com quan en Michael Asher apaga el llum de la sala \u2013o m\u00e9s aviat no l\u2019enc\u00e9n\u2013 o l\u2019Oriol Vilanova permet regatejar l\u2019entrada al MACBA. Modificant el context, l\u2019assenyalem i gr\u00e0cies a que hi ha un context, podem modificar-lo. Un cop, el fot\u00f2graf i editor Pau Ardid em va recordar que les meves exposicions eren l\u2019excusa per poder escriure el full de sala. Dic recordar perqu\u00e8 aix\u00f2, en teoria, li vaig dir jo mateix. Ja pot ser, la veritat \u00e9s que \u00e9s precisament a l\u2019espai del full de sala on podem trobar un receptor m\u00e9s al descobert. Aquesta posici\u00f3 \u00e9s deguda probablement a l\u2019autoritat que li reservem a aquest tipus d\u2019informacions al marge, una autoritat que es funda precisament en el seu component extern \u2013en teoria no ets tu qui parla\u2013 que possibilita una dist\u00e0ncia \u2013cr\u00edtica?\u2013 des d\u2019on emetre un discurs (redundant) d\u2019autoritat \u2013no \u00e9s qualsevol qui escriu, normalment \u00e9s alg\u00fa que t\u00e9 un pes rellevant en el context que possibilita all\u00f2 que est\u00e0s veient (director, comissari, cr\u00edtic, o indeterminat que precisament en aquesta indeterminaci\u00f3 encara fa m\u00e9s autoritari el text, ja que aquest se\u2019ns apareix del no res, de manera revelada). Aquestes informacions al marge tamb\u00e9 es caracteritzen per una aparen\u00e7a de consens entre el text i all\u00f2 que presenta, i \u00e9s per aquest motiu que ens xoca quan veiem que hi ha artistes que modifiquen personalment aquests textos, com el c\u00e8lebre Some of this is untrue <\/em>que l\u2019artista americ\u00e0 Darren Bader va escriure a les seves pr\u00f2pies cartel\u00b7les durant la biennal de Lyon del 2015, o, d\u2019una manera m\u00e9s efectista quan Antonio Ortega convida a l\u2019artista Mariona Moncunill a intervenir els textos de sala de l\u2019exposici\u00f3 Autogesti\u00f3 <\/em>realitzada a la Fundaci\u00f3 Mir\u00f3 l\u2019any 2017. Tenint en compte aquests exemples, \u00e9s evident que al marge passen coses. El que comen\u00e7o a dubtar \u00e9s si al centre hi ha alguna cosa interessant o, si com d\u2019una carxofa es tract\u00e9s, \u00e9s un espai buit. I enmig d\u2019aquest buit, com diu l\u2019escriptor V\u00edctor Balcells Matas que deia el poeta Juarroz, hi ha una festa[1]<\/sup><\/a>.<\/p>\n

 <\/p>\n

 <\/p>\n

[1]<\/sup><\/a>Un cop escrites les conclusions de la tesi, ara em falta escriure la resta. No se si d\u2019una conclusi\u00f3 en podem extreure les premisses o si podem \u2013tal com diu el pintor Rasmus Nilausen que diu en John Wayne\u2013 primer disparar i despr\u00e9s preguntar. Per\u00f2 de fet, si el pr\u00f2leg sempre va al principi per\u00f2 sempre s\u2019escriu al final, em pregunto si \u00e9s possible que les conclusions sempre s\u2019escriguin al principi i es situen al final?<\/p>\n

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

(…) I un cop explicitades les conclusions d\u2019aquesta tesi, donem pas a un ep\u00edleg de tancament,\u00a0 quatre paraules per sintetitzar tot all\u00f2 exposat fins ara. 12.5_Ep\u00edleg Aquest apartat es configura…<\/p>\n","protected":false},"author":2609,"featured_media":25293,"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":[5989],"tags":[],"coauthors":[6560],"acf":[],"yoast_head":"\n12.5_Ep\u00edleg – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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