{"id":27164,"date":"2019-11-18T06:00:26","date_gmt":"2019-11-18T05:00:26","guid":{"rendered":"http:\/\/a-desk.org\/magazine\/liquidity-inc\/"},"modified":"2023-07-09T14:35:00","modified_gmt":"2023-07-09T12:35:00","slug":"liquidity-inc","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/liquidity-inc\/","title":{"rendered":"Liquidity Inc."},"content":{"rendered":"

En temps d\u2019hiperconnexi\u00f3, \u00e9s a trav\u00e9s del moviment que calculem la salut del m\u00f3n de l\u2019art \u2014 com m\u00e9s circula una obra, m\u00e9s gran \u00e9s el seu impacte. Viatja, s\u2019instal\u00b7la i es desinstal\u00b7la, es ven i es compra de nou, i es performa i promulga per una audi\u00e8ncia internacional vestida de manera semiformal. Com a tal, tamb\u00e9 podria ser definida per la seva rendibilitat i efic\u00e0cia. En aquest cas,\u00a0 es comptaria en nombre de visitants, xifres a subhastes, o a n\u00famero de biennals comissariades. La liquiditat sembla per ser un terme de moda que escau molt b\u00e9 al m\u00f3n d’art (Hito Steyerl ja ens en va avisar). Les biennals s\u00f3n formats en moviment, els artistes s\u00f3n n\u00f2mades, les fires d’art s\u00f3n transcontinentals, les exposicions blockbuster<\/i> viatgen constantment – l’art \u00e9s tan fluid com sempre. El finan\u00e7ament impregna la vida social, i goteja a nocions de confian\u00e7a, govern, o licitud. Com a resultat, el valor de mercat regula el codi d’avaluaci\u00f3 universal, i rec\u00edprocament, la internacionalitzaci\u00f3 ha esdevingut un indicador de valor. Tanmateix, si aquest tr\u00e0nsit denota riquesa econ\u00f2mica, la resist\u00e8ncia inevitablement implica precarietat?<\/span><\/p>\n

L’art t\u00e9 una relaci\u00f3 complicada amb els diners, que sovint passa per conceptes elusius com valor immaterial, materialitats alternatives, o utopies mentre les institucions art\u00edstiques viuen en bucles de (auto-) cr\u00edtica institucional i complaen\u00e7a. No obstant aix\u00f2, el seu poder simb\u00f2lic \u00e9s innegable. En els \u00faltims vint anys, assumptes de just\u00edcia social, diversitat i igualtat s\u2019han mogut de les afores de la seva m\u00e0quina de pensament al nucli. Amb aix\u00f2 han adoptat el rol d’agents de canvi social progressiu, i han vingut per ser f\u00f2rums p\u00fablics respectats per trobar i negociar assumptes socials disputats. Mentre escrivia aquesta pe\u00e7a, el Guggenheim i el Museu Metropolit\u00e0 d’Art de Nova York, la Tate i Biblioteca de Londres del Regne Unit i el Louvre a Europa han refusat les importants donacions de la fam\u00edlia Sackler, que fabrica i treu benefici del calmant OxyContin, l’\u00fas del qual ha desembullat en la crisi actual dels opioides als EUA. Aquestes organitzacions s\u00f3n paradigmes emblem\u00e0tics del flux esmentat d’extracci\u00f3 de riquesa, i tot i aix\u00ed, promulguen el seu car\u00e0cter de protectores de la just\u00edcia social, per\u00f2 ho fan de tal manera que nom\u00e9s reforcen el circuit de valor nominal: a trav\u00e9s dels diners (o, en aquest cas, del seu rebuig). Com a resultat, la premsa internacional repeteix aquest gest magn\u00edfic, sense preguntant-se per qu\u00e8 el Regne Unit i les institucions de la UE\u00a0 mostren categ\u00f2ricament aquest rebuig quan el calmant ni tan sols es ven als seus pa\u00efsos; o per qu\u00e8 continuen rebent diners d’empreses petrol\u00edferes, com ho fa la Tate de BP; o el per qu\u00e8 del paper de l’artista Nan Goldin al front de les manifestacions en el marc del col\u00b7lectiu P.A.I.N. (Prescription Addiction Intervention Now<\/i>: Intervenci\u00f3 de l\u2019Addicci\u00f3 a la Prescripci\u00f3 Ara) es continua oblidant. Si el simbolisme \u00e9s nom\u00e9s relegat als diners, com podem pensar a trav\u00e9s de l\u2019art en maneres alternatives de construir el m\u00f3n, formes noves d’expressi\u00f3, i noves utopies? Pot una instituci\u00f3, amb el seu poder simb\u00f2lic inherent, afectar la creaci\u00f3 de valor m\u00e9s enll\u00e0 del mercat dins el context tecnopol\u00edtic actual?<\/span><\/p>\n

\u00c9s a trav\u00e9s de l\u2019experimentaci\u00f3 i el suport als qui la realitzen que les institucions d’art esdevenen valuoses per la societat a la que intenten apel\u00b7lar, tot oferint un espai per a la pr\u00e0ctica i la reflexi\u00f3, fomentant col\u00b7laboracions, deixant que d\u2019altres se\u2019n facin c\u00e0rrec, assajant amb formes noves d’organitzaci\u00f3 per configurar nous espais viscuts. bell hooks afirma: \u201cParlar no \u00e9s nom\u00e9s una expressi\u00f3 de poder creatiu; \u00e9s un acte de resist\u00e8ncia, un gest pol\u00edtic que posa en entredit les pol\u00edtiques de dominaci\u00f3 que ens farien muts i sense nom. Com a tal, \u00e9s un acte coratj\u00f3s, i com a tal representa una amena\u00e7a. Contestar \u00e9s alliberar la pr\u00f2pia veu.\u201d Jo, personalment, vull pensar que la curadoria es pot entendre, tamb\u00e9, com a forma d’expressar resist\u00e8ncia: un esfor\u00e7 \u00e8tic amb una responsabilitat social cap als que no poden fer sentir les seves veus, una forma de donar espai i\u00a0 empoderar aquells que conformen el teixit social per\u00f2 que s\u00f3n relegats als seus marges. Tot i que fer una instituci\u00f3 per tothom \u00e9s un anhel transnacional col\u00b7lectiu i econ\u00f2micament desitjable. Si penso en el comprom\u00eds amb l\u2019experimentaci\u00f3, els valors radicals, i la creaci\u00f3 de mons alternatius, penso que aquestes tendeixen a n\u00e9ixer de converses generoses que sovint van en dosis petites. Generar valor social a trav\u00e9s d’aquelles m\u00e0quines en moviment sembla inassolible, \u00e9s com si estigu\u00e9ssim negociant i mercantilitzant la seva autonomia. La reflexi\u00f3 fonamentada i el comprom\u00eds sincer s\u00f3n un mecanisme preci\u00f3s i dif\u00edcil de capitalitzar pels poders simb\u00f2lics que depenen de l’escala global del complex tecnoecon\u00f2nic, ja que tendeixen a passar en formats a petita escala, treballar a trav\u00e9s de conceptes de moviment lent i en institucions locals. S\u00f3n dif\u00edcils de fer-los realitat, de portar endavant, i encara m\u00e9s complicat de resoldre\u2019ls b\u00e9. Aplicar aquestes t\u00e0ctiques podria semblar una bona idea, per\u00f2 si es fa sense una perspectiva conscient i atenta, a gran escala i amb una gran producci\u00f3, pot acabar semblant un edulcorant artificial, com el sat\u00e8l\u00b7lit de Kabul de Documenta13, que va fer una mica de gust a l\u2019anunci de Pepsi de la Kendall Jenner. O la sempre creixent llista d\u2019artistes que boicotegen les biennals quan s\u00f3n ja obertes. De la mateixa manera que les estructures transnacionals tendeixen a transformar el pensament radical en p\u00edndoles gustoses de consumici\u00f3 di\u00e0ria, l’ag\u00e8ncia col\u00b7lectiva \u00e9s redu\u00efda a transaccions de diners. D’aquesta manera, convertir poder simb\u00f2lic en capital no implica cr\u00e9ixer en influ\u00e8ncia, al contrari, \u00e9s nom\u00e9s una acumulaci\u00f3 al buit dels comunicats de premsa internacionals no llegits. En aquest cas, la internacionalitzaci\u00f3 es converteix en una moneda amb inflaci\u00f3.<\/span><\/p>\n

Potser de vegades busquem gestos magn\u00edfics que puguin combatre totes les injust\u00edcies del m\u00f3n\u00a0 d\u2019una manera transnacional. Per\u00f2 potser l\u2019\u00fanica manera passa per respondre les micro-geografies de poder i control amb accions subtils de cura, abra\u00e7ant la seva vulnerabilitat inherent, subvertint el discurs de protecci\u00f3 i paternalisme, per transformar-los en poder simb\u00f2lic. Potser crear una instituci\u00f3 per a tothom no \u00e9s la resposta, i necessitem pensar en com habilitar mecanismes nous per abastar la multiplicitat de veus i formes de relacions de la realitat congestionada que habitem. Si la internacionalitzaci\u00f3 era la clau de l\u2019\u00e8xit neoliberal, potser el cam\u00ed \u00fanic de la resist\u00e8ncia \u00e9s esdevenir encara m\u00e9s arrelats, i des d\u2019all\u00e0, recolzar fermament artistes i comissaris per empoderar comunitats a trav\u00e9s d’actes d’imaginaci\u00f3 col\u00b7lectiva. Les pr\u00e0ctiques art\u00edstiques que catalitzen el canvi no estan sempre encastades dins els circuits globals de poder, sin\u00f3 dins d\u2019assajos conscients de llibertats, els quals es converteixen en micro universos d’emancipaci\u00f3 i una bella i ineficient productivitat art\u00edstica. Pensem en la rellev\u00e0ncia d’aquests tres institucions: Casco, a Utrecht (NL), est\u00e0 treballant en un programa a llarg termini que explora el com\u00fa; Aksioma a Ljubljana (SV) es concentra en la producci\u00f3 art\u00edstica basada en les noves tecnologies que exploren preocupacions socials, pol\u00edtiques, est\u00e8tiques i \u00e8tiques per fomentar col\u00b7laboracions i els intercanvis; FLORA ars+natura, a Bogot\u00e0 (CO) s\u2019especialitza en la relaci\u00f3 entre art, natura i cos. Se centra en una formaci\u00f3 art\u00edstica sobre la pr\u00e0ctica art\u00edstica, la cr\u00edtica i el canvi intercultural. Tot i que s\u00f3n a la perif\u00e8ria del m\u00f3n de l’art, contribueixen activament\u00a0 als discursos actuals que reverberen internacionalment. La seva missi\u00f3 accentua el seu objectiu social a trav\u00e9s de la programaci\u00f3 p\u00fablica, i el comprom\u00eds per promoure recerca i producci\u00f3 art\u00edstica. D’aquesta manera, arriben a ser rellevants a les seves pr\u00f2pies geografies, mentre s’involucren en la producci\u00f3 de les biografies individuals i les hist\u00f2ries col\u00b7lectives. Com a tal, aquelles experi\u00e8ncies s\u00f3n aclaridores provocacions pel futur.<\/span><\/p>\n

Potser el poder simb\u00f2lic tamb\u00e9 hauria de considerar-se l\u00edquid, i mentre aquests gestos xopen les microagressions amb un empoderament prudent, penetren textures m\u00e9s grans, esdevenint impossibles d’evitar. A trav\u00e9s de veus col\u00b7lectives, un pot impregnar subtilment les estructures d’opressi\u00f3 transnacional amb resist\u00e8ncies fluides i experimentals, amb noves formes de col\u00b7lectivitat, noves aparences per a utopies diferents. Potser nom\u00e9s necessitem apropiar-nos d\u2019aquesta liquiditat, per\u00f2 aquest cop com a proc\u00e9s, com a maniobra i mitj\u00e0 per a un fi, i no com a objectiu final.<\/span><\/p>\n

(Imatge destacada:\u00a0Hito Steyerl, Liquidity Inc.<\/em>, 2014 (fotograma), Video monocanal HD en entorn arquitect\u00f2nic, 30 minuts. Imatge cortesia de l’artista i Andrew Kreps Gallery, New York).<\/p>\n","protected":false},"excerpt":{"rendered":"

En temps d\u2019hiperconnexi\u00f3, \u00e9s a trav\u00e9s del moviment que calculem la salut del m\u00f3n de l\u2019art \u2014 com m\u00e9s circula una obra, m\u00e9s gran \u00e9s el seu impacte. Viatja, s\u2019instal\u00b7la…<\/p>\n","protected":false},"author":2645,"featured_media":27120,"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":[6013],"tags":[],"coauthors":[6596],"acf":[],"yoast_head":"\nLiquidity Inc. – 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\/ca\/magazine\/liquidity-inc\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liquidity Inc. – A*Desk\" \/>\n<meta property=\"og:description\" content=\"En temps d\u2019hiperconnexi\u00f3, \u00e9s a trav\u00e9s del moviment que calculem la salut del m\u00f3n de l\u2019art \u2014 com m\u00e9s circula una obra, m\u00e9s gran \u00e9s el seu impacte. 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