{"id":31828,"date":"2021-03-08T06:00:12","date_gmt":"2021-03-08T05:00:12","guid":{"rendered":"http:\/\/a-desk.org\/?p=31828"},"modified":"2023-07-09T14:34:11","modified_gmt":"2023-07-09T12:34:11","slug":"devenir-obsolescente","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/devenir-obsolescente\/","title":{"rendered":"Esdevenir obsolescent"},"content":{"rendered":"

L’Estat havia de convertir-se en el museu de la seva poblaci\u00f3, i cada \u00e9sser hum\u00e0 en una obra d’art. I de la mateixa manera que l’administraci\u00f3 dels museus \u00e9s responsable no sols de la col\u00b7lecci\u00f3, sin\u00f3 tamb\u00e9 de que cada obra d’art estigui intacta i de restaurar cadascuna d’elles si amena\u00e7a ru\u00efna, l’Estat ha de ser responsable de la resurrecci\u00f3 i la superviv\u00e8ncia de cada individu.<\/p>\n

Boris Groys, Cossos immortals<\/em>, 2008<\/p><\/blockquote>\n

La principal aspiraci\u00f3 d’una societat a la qual se li ha prom\u00e8s gaudir sense l\u00edmits \u00e9s la de la immortalitat. El c\u00edborg, les pr\u00f2tesis, el cos sense \u00f2rgans, el dopatge farmacol\u00f2gic i altres ensomnis posthumanistes venien a desafiar la mort reconeixent l’obsolesc\u00e8ncia del cos biol\u00f2gic i els l\u00edmits de l’hum\u00e0. Per\u00f2 com argumentava recentment Nuria G\u00f3mez Gabriel en aquesta mateixa revista<\/a>, urgeixen unes pol\u00edtiques del dol enfront d’una societat \u201chiperpositiva que glorifica la joventut i demora la realitat del trasp\u00e0s\u201d. M\u00e9s enll\u00e0 del gir necropol\u00edtic i l’omnipresent especulaci\u00f3 de xifres dels mitjans de comunicaci\u00f3 durant el darrer any, l’experi\u00e8ncia tr\u00e0gica de la mort en l’actual conjuntura hauria de portar-nos a repensar \u2013com ja es va fer durant la crisi de la SIDA\u2013 les possibilitats del cos com a espai vulnerable, la pot\u00e8ncia del l\u00edmit i l’inevitable dest\u00ed de l’exist\u00e8ncia que Hannah Arendt trobava a La condici\u00f3 humana <\/em>(Arendt, 1958).<\/p>\n

Al seu assaig Cossos inmortals<\/em>,<\/a>\u00a0Boris Groys constata que \u201cla societat de cossos immortals \u00e9s la societat del biopoder per excel\u00b7l\u00e8ncia\u201d. Ho fa partint de les idees dels biocosmistes russos com Nikol\u00e1i Fedorov, o els experiments de transfusi\u00f3 de sang d’Alexander Bogdanov, que aspiraven a aconseguir la immortalitat per mitj\u00e0 de la t\u00e8cnica. En certa manera, aquesta aposta no estaria tan allunyada de la reivindicaci\u00f3 futurista de la m\u00e0quina com a promesa ideol\u00f2gica enfront de la decad\u00e8ncia humana, de la seva invitaci\u00f3 a aniquilar el temps en favor d’una \u201ceterna velocitat omnipresent\u201d<\/a>.Potser per aix\u00f2, Groys interpreta aquestes postures com a visions dist\u00f2piques m\u00e9s que ut\u00f2piques, alhora que reconeix la radical pertin\u00e8ncia d’aquest debat en l’actualitat, en un moment en el qual la imaginaci\u00f3 es troba \u201ctan obsessionada per la immortalitat\u201d. I at\u00e8s que ja (gaireb\u00e9) tots ens hem convertit en productors d’imatges audiovisuals, potser \u00e9s cert que el mitj\u00e0 m\u00e9s idoni per a plantejar aquest debat sigui precisament a trav\u00e9s d’una \u201cfilosofia audiovisual\u201d, fent part dels tres collages f\u00edlmics de Pensant en bucle<\/em> (2002-2007), publicats originalment per ZKM el 2008 i presentats recentment a La Virreina Centre de la Imatge<\/a> (5 de novembre de 2021 \u2013 7 de febrer de 2021) pel comissari Manuel Font\u00e1n del Junco. D’aquesta manera, Boris Groys posa en joc les idees de Cossos immortals<\/em> a trav\u00e9s d’una s\u00e8rie d’interfer\u00e8ncies entre el text i una selecci\u00f3 de materials f\u00edlmics entorn de com la cinematografia ha llegit el posthumanisme de Fedorov, Bogdanov i Bram Stoker junts.<\/p>\n

\u00c9s cert que el cinema ha especulat amb la immortalitat fins a l’infinit: des de les adaptacions incomptables del cl\u00e0ssic (o no tan cl\u00e0ssic) de vampirs fins a les imaginacions d’un dem\u00e0 cibertecnol\u00f2gic on l’obsolesc\u00e8ncia humana ha estat definitivament despla\u00e7ada per una altra classe d’ontologies. De la mateixa manera, s\u00f3n nombroses les hist\u00f2ries dist\u00f2piques sobre una consci\u00e8ncia deshumanitzada despresa de tot vincle afectiu. A la pel\u00b7l\u00edcula Little Joe<\/em><\/a> (Jessica Hausner, 2019), els avan\u00e7os en biotecnologia i la cerca d’una vida plena, allunyada del dolor i l’experi\u00e8ncia tr\u00e0gica de la vida, provoquen una epid\u00e8mia d’indifer\u00e8ncia i apatia que impedeix desplegar qualsevol rastre d’emoci\u00f3. Com ja havia fet Andr\u00e9i Zvi\u00e1guintsev a Sense Amor<\/em><\/a> (2018), l’individualisme radical \u2013que \u00e9s en el fons un desig de romandre m\u00e9s enll\u00e0 de la mort\u2013 porta a un escenari de solituds dominat per la misantropia. Ben cert \u00e9s, tamb\u00e9, que m\u00e9s enll\u00e0 d’una constel\u00b7laci\u00f3 de cossos presumiblement immortals, el cinema no ha abandonat mai la tend\u00e8ncia a la trag\u00e8dia: des de la complexa er\u00f2tica dels mortals a les emocions extremes que recorren els humans, cosa que possiblement es deu a la capacitat de la ficci\u00f3 audiovisual de situar-se en el llindar d\u2019all\u00f2 comunicable.<\/p>\n

En aquest nus de contradiccions, entre all\u00f2 mortal i immortal, entre all\u00f2 obsolescent i etern, entre all\u00f2 prof\u00e0 i museable, l’exposici\u00f3 Esdevenir immortal i despr\u00e9s morir<\/em><\/a>\u00a0 comissariada per Caterina Almirall per a BCN Producci\u00f3 a La Capella (13 d’octubre 2020 \u2013 31 de gener de 2021), es plantejava ja des del propi t\u00edtol com un enigma o una pregunta oberta. Prenent les idees de Nikolai Fedorov per a reflexionar sobre el museu com a espai de negociaci\u00f3 entre la vida i la mort, la pregunta es feia expl\u00edcita en el v\u00eddeo “The Barry\u2019s Van Tour” (2007) de Jorge Satorre en el qual ressuscita un objecte per a despr\u00e9s eliminar-lo definitivament. Des de l’urna funer\u00e0ria del Museu d’Arqueologia de Barcelona (900-700 a. C.) al \u201cGoodbye, My Sunny Child (Tamagotchi Memorial)\u201d (2020) de Daniel Moreno Rold\u00e1n, l’exposici\u00f3 tra\u00e7ava un recorregut del Neol\u00edtic al present sobre la noci\u00f3 ancestral de la mort. El treball \u201c\u00dara\u201d (2020) de Lara Flux\u00e1, una s\u00e8rie de peces de vidre plenes de l\u00edquid i instal\u00b7lades en un dels murs de la sala, sembla apuntar a la fragilitat d\u2019all\u00f2 en tot ecosistema. Al costat d’aix\u00f2, el v\u00eddeo \u201cNot I\u201d (1972) de Samuel Beckett vindria a negar la identitat com a voluntat de perman\u00e8ncia.<\/p>\n

Samuel Beckett va treballar insistentment en la ironia, potser per aquesta idea que nom\u00e9s des d’all\u00e0 \u00e9s possible acostar-se a l’abisme, fent visible la duresa de la realitat a trav\u00e9s de les seves pr\u00f2pies contradiccions. Precisament, Theodor Adorno arribava a la conclusi\u00f3 en la seva Teoria Est\u00e8tica<\/em> que nom\u00e9s a trav\u00e9s de la fora mida podria donar-se \u2013despr\u00e9s d’Auschwitz\u2013 alguna classe d\u2019 \u201cart tr\u00e0gic\u201d (Adorno, 1970). El MACBA promet una exposici\u00f3 sobre Felix Gonz\u00e1lez-Torres en un moment-l\u00edmit en el qual altres dols mereixen ser recordats perqu\u00e8 puguem donar sentit als nostres. L’origen etimol\u00f2gic d\u2019obsolescere<\/em> al\u00b7ludeix a \u201cestar en proc\u00e9s de trobar un obstacle\u201d, un l\u00edmit. Recuperar la mort com a l\u00edmit de la vida, com a dest\u00ed tr\u00e0gic de l’exist\u00e8ncia, no sols ens situa davant el dolor, sin\u00f3 que, en acceptar mirar de cara a all\u00f2 tr\u00e0gic, estarem tamb\u00e9 habilitats per a celebrar la vida amb alegria carnavalesca.<\/p>\n

 <\/p>\n

(Imatge destacada:\u00a0‘Untitled (Perfect Lovers)’, Felix Gonzalez-Torres (1991))<\/p>\n","protected":false},"excerpt":{"rendered":"

L’Estat havia de convertir-se en el museu de la seva poblaci\u00f3, i cada \u00e9sser hum\u00e0 en una obra d’art. I de la mateixa manera que l’administraci\u00f3 dels museus \u00e9s responsable…<\/p>\n","protected":false},"author":1298,"featured_media":31692,"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":[6095],"tags":[],"coauthors":[6459],"acf":[],"yoast_head":"\nEsdevenir obsolescent – 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\/devenir-obsolescente\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Esdevenir obsolescent – A*Desk\" \/>\n<meta property=\"og:description\" content=\"L’Estat havia de convertir-se en el museu de la seva poblaci\u00f3, i cada \u00e9sser hum\u00e0 en una obra d’art. 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