{"id":43569,"date":"2023-05-29T07:21:04","date_gmt":"2023-05-29T05:21:04","guid":{"rendered":"https:\/\/a-desk.org\/?p=43569"},"modified":"2023-07-10T10:30:27","modified_gmt":"2023-07-10T08:30:27","slug":"crear-mundos-organizar-mundos-compartir-con-otres","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/crear-mundos-organizar-mundos-compartir-con-otres\/","title":{"rendered":"CREAR MONS, ORGANITZAR MONS, COMPARTIR AMB ALTRI"},"content":{"rendered":"
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Prendr\u00e9\u00a0<\/span>com a l<\/span>\u00ed<\/span>mit per a l’escriptura d’aquest text la idea de composici<\/span>\u00f3 que ve juntament\u00a0<\/span><\/b>amb l’enteniment <\/span>de <\/span>qu<\/span>\u00e8\u00a0<\/span>una pe<\/span>\u00e7<\/span>a (en el meu cas una pe<\/span>\u00e7<\/span>a de dansa) \u00e9<\/span>s una invitaci\u00f3 <\/span>a un estat d’atenci<\/span>\u00f3. La composici\u00f3 en aquest marc t\u00e9 a<\/span>veure amb donar relleu a una zona opaca inaprehensible que nom\u00e9s succeeix entre les coses. Des d’aquesta perspectiva, entenc que cada proc\u00e9<\/span>s de creaci<\/span>\u00f3 \u00e9<\/span>s una manera singular de fer m\u00f3<\/span>n i que cada m<\/span>\u00f3<\/span>n t<\/span>\u00e9 <\/span>la seva pr<\/span>\u00f2pia manera d’organitzar-se. L’exercici de la composici<\/span>\u00f3<\/span>, per tant, no est<\/span>\u00e0 <\/span>dissociat de la inevitable trama entre <\/span>qu<\/span><\/i>\u00e8\u00a0<\/span><\/i>(les preguntes i inquietuds que s\u00f3n els motors de la creaci\u00f3), el <\/span>com\u00a0<\/span><\/i>(la relaci\u00f3 <\/span>entre les mat\u00e8<\/span>ries que traduiran aquestes inquietuds) i el <\/span>quan\u00a0<\/span><\/i>on\u00a0<\/span><\/i>(l’organitzaci<\/span>\u00f3<\/span>d’aquesta trama sensible que convida a un determinat estat d’atenci<\/span>\u00f3<\/span>). <\/span><\/p>\n<\/div>\n

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Compondre hauria de <\/span>tenir a <\/span>veure <\/span>doncs\u00a0<\/span>amb prendre consci\u00e8<\/span>ncia de les agrupacions de mat<\/span>\u00e8ries vibrants en l<\/span>es\u00a0<\/span>qual<\/span>s ja estem immerses, escoltar el desig per a despla<\/span>\u00e7<\/span>ar les mat\u00e8<\/span>ries (incloent-hi els nostres cossos) de les seves in<\/span>\u00e8<\/span>rcies i organitzar aquests esdeveniments com una invitaci<\/span>\u00f3 <\/span>a<\/span>l\u2019altri\u00a0<\/span>per a formar part d’un recorregut d’atenci<\/span>\u00f3<\/span>.<\/span><\/p>\n<\/div>\n

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Com a creadora i tamb<\/span>\u00e9 <\/span>com alg<\/span>\u00fa <\/span>que acompanya a moltes artistes en creaci\u00f3, poso la meva atenci\u00f3 en aquestes maneres singulars de fer m\u00f3<\/span>n per a estar a\u00a0<\/span>les\u00a0<\/span>escolt<\/span>es\u00a0<\/span>de quin tipus d’organitzaci<\/span>\u00f3, composici\u00f3<\/span>, cada m<\/span>\u00f3<\/span>n necessita.<\/span><\/p>\n<\/div>\n

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Coses que no es connecten i necessiten estar juntes<\/span><\/b><\/p>\n<\/div>\n

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A vegades un m\u00f3<\/span>n apareix des de l’exc\u00e9s, des de l’acceptaci<\/span>\u00f3 <\/span>del\u00a0<\/span>rid\u00ed<\/span>cul, de jugar fins a travessar llocs desconeguts. Apareix entremig del caos, de mil exercicis, improvisacions, pr<\/span>\u00e0ctiques indefinides, fragments de gestos. Una seq\u00fc\u00e8<\/span>ncia de moviments <\/span>a prop d’un objecte que encara no t<\/span>\u00e9 <\/span>sentit,\u00a0<\/span>a prop\u00a0<\/span>d’una manera de mirar que encara no t\u00e9 <\/span>cos. La falta de pot<\/span>\u00e8<\/span>ncia d’una imatge no fa que <\/span>aquesta sigui descartada, es tracta d’esperar. A vegades aquesta manera de fer dura fins al final (la pe<\/span>\u00e7<\/span>a <\/span>acabada). I un tros de moviment que va apar<\/span>\u00e8<\/span>ixer en els primers dies del proc<\/span>\u00e9<\/span>s pot reapar<\/span>\u00e8<\/span>ixer en el dia de l’estrena. Quan aix<\/span>\u00f2 <\/span>passa, la meva atenci\u00f3 se centra a fomentar la proliferaci\u00f3 <\/span>d’intents i miro la composici<\/span>\u00f3 <\/span>com un territori r<\/span>\u00ed<\/span>tmic que conduir\u00e0 <\/span>l’atenci<\/span>\u00f3 <\/span>del p<\/span>\u00fa<\/span>blic. En aquests mons compondre <\/span>\u00e9<\/span>s fer coexistir materials diversos i que a vegades no es connecten. <\/span>\u00c9<\/span>s crear un paisatge r<\/span>\u00ed<\/span>tmic, una partitura d’atenci<\/span>\u00f3, de sensacions. Un forat, una pausa llarga, una explosi\u00f3, una repetici\u00f3 <\/span>que distregui i despr<\/span>\u00e9<\/span>s un tall, una acceleraci<\/span>\u00f3<\/span>, una sorpresa, una previsibilitat.<\/span><\/p>\n<\/div>\n

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Compondre \u00e9<\/span>s una reuni\u00f3 <\/span>din<\/span>\u00e0<\/span>mica, una organitzaci\u00f3 <\/span>de tensions<\/span>\u2026 <\/span>A vegades hi ha contaminaci\u00f3 <\/span>sensorial i emocional d’una zona cap a una altra, a vegades no, tot dep<\/span>\u00e8n del recorregut que estem proposant per a la percepci<\/span>\u00f3 de l’obra en la trobada amb el p<\/span>\u00fa<\/span>blic. I aquest recorregut <\/span>\u00e9<\/span>s la traducci\u00f3 en sensaci\u00f3, de les nostres preguntes inicials.<\/span><\/p>\n<\/div>\n

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Col\u00b7<\/span><\/b>lecci\u00f3 <\/span><\/b>de sensibles <\/span><\/b><\/b><\/p>\n<\/div>\n

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A vegades un m\u00f3<\/span>n apareix a partir d’una quantitat continguda de coses, d’un conjunt restringit de refer\u00e8<\/span>ncies i de la junci\u00f3\u00a0<\/b>entre mons que es connecten des de les seves operacions (i no necess<\/span>\u00e0<\/span>riament des dels seus continguts). L’observaci<\/span>\u00f3 <\/span>d’un far\u00a0<\/span>al costat d\u2019una polaroid sent revelada, al costat d\u2019<\/span>una pr<\/span>\u00e0ctica d’escalfament que porta a un estat de pres\u00e8<\/span>ncia, per exemple. En aquesta mena de m\u00f3n la meva atenci\u00f3 <\/span>est<\/span>\u00e0 <\/span>a entendre com es connecten aquestes coses. Compondre en aquests casos implica percebre si aquest conjunt de coses <\/span>\u00e9<\/span>s una bossa que acompanyar<\/span>\u00e0 <\/span>la construcci\u00f3 <\/span>d’aquest m<\/span>\u00f3<\/span>n com un amulet que mai es veur\u00e0<\/span>, o si cada unitat es convertir<\/span>\u00e0 <\/span>en una escena, un moment de l’obra. Quan un m<\/span>\u00f3<\/span>n apareix de col<\/span>\u00b7<\/span>leccions de sensibles, cal\u00a0<\/b>respectar les operacions de cada bloc, material, escena, per<\/span>\u00f2 <\/span>tamb<\/span>\u00e9 crear l’arquitectura on aquestes unitats puguin cohabitar. Com si estigu\u00e9ssim parlant d’una casa. Una casa que no para de canviar, plena de forats i parets que a vegades s’aixequen i a vegades desapareixen. I col<\/span>\u00b7<\/span>locar una habitaci\u00f3 <\/span>al final d’un passad<\/span>\u00eds\u00a0<\/span>\u00e9<\/span>s completament diferent a col\u00b7locar-la <\/span>prop\u00a0<\/b>del jard<\/span>\u00ed<\/span>, dependr<\/span>\u00e0 <\/span>del to del lloc que estem fent existir.<\/span><\/p>\n<\/div>\n

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D<\/span>e <\/span><\/b>plec<\/span><\/b>en <\/span><\/b>plec<\/span><\/b><\/p>\n<\/div>\n

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A vegades un m\u00f3<\/span>n apareix a partir del desplegament d’una l<\/span>\u00f2<\/span>gica. Dels cicles que van d’afectar-se, a formular, a executar. En aquests mons, les primeres accions en l’estudi s<\/span>\u00f3<\/span>n com esdeveniments previs i no oficials, s<\/span>\u00f3<\/span>n intents econ<\/span>\u00f2<\/span>mics de bregar\u00a0<\/span><\/b>amb la profusi<\/span>\u00f3 <\/span>d’imatges. La falta de pot<\/span>\u00e8<\/span>ncia d’una imatge fa que<\/span>se <\/span>la deixi de <\/span>banda<\/span>, s<\/span>\u00f3<\/span>n els esdeveniments que informen les imatges que romanen. Els primers esfor<\/span>\u00e7<\/span>os consisteixen a trobar el gest m<\/span>\u00ed<\/span>nim, la imatge inicial. I aquests contorns i limitacions poden enunciar-se com a punt de partida. <\/span>Aleshores la composici\u00f3 <\/span>ve d’habitar aquest m<\/span>\u00f3n i fer-lo durar, de respectar els esdeveniments. La singularitat dels gestos i la llibertat inventiva apareixen dins dels contorns trobats en el gest inicial. <\/span>\u00c9s un m<\/span>\u00f3<\/span>n que creix cap al seu interior, i no cap als costats, o cap a fora. En aquesta manera de fer m<\/span>\u00f3n, la meva atenci\u00f3 radica a preservar una certa obsessi\u00f3 <\/span>per repetir l’operaci<\/span>\u00f3 trobada i la composici<\/span>\u00f3 \u00e9s <\/span>\u00fanicament<\/span>respectar les difer<\/span>\u00e8ncies que emergeixen d’aquesta insist\u00e8<\/span>ncia.<\/span><\/p>\n<\/div>\n

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Estructures org\u00e0niques<\/span><\/b><\/p>\n<\/div>\n

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A vegades un m\u00f3<\/span>n apareix a partir d’una estructura, d’un gui<\/span>\u00f3<\/span>, d’una l<\/span>\u00f2gica matem<\/span>\u00e0<\/span>tica. <\/span>\u00c9s un m<\/span>\u00f3n que t<\/span>\u00e9 esquelet i carn. L’esquelet prov\u00e9 <\/span>dels afectes, dels desitjos tradu<\/span>\u00ef<\/span>ts en esquemes que donen la direcci\u00f3 <\/span>dramat\u00fa<\/span>rgica de l’obra, en imatges d’un lloc i la seva durada. La carn prov\u00e9 del treball d’empassar altres imatges, d’encarnar paraules, de fer met\u00e0<\/span>fores, de poblar els cossos amb ficcions. Aquest m\u00f3n apareix a partir de la capacitat d’inventar un llenguatge amb gestos que habitaran una estructura. En aquesta mena de m\u00f3n la meva atenci\u00f3\u00a0<\/span>est<\/span>\u00e0 en dos llocs, d’una banda, <\/span>en<\/span>alimentar els cossos d’imatges per a compondre des de les min<\/span>\u00fa<\/span>cies de les pres\u00e8<\/span>ncies; i per <\/span>l\u2019altra<\/span>, <\/span>en\u00a0<\/span>afinar els ritmes i durades de l’estructura determinada pr\u00e8<\/span>viament.<\/span><\/p>\n<\/div>\n

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Insistir en el gest o en l’estat<\/span><\/b><\/p>\n<\/div>\n

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A vegades un m\u00f3n apareix a partir de la repetici\u00f3 <\/span>d’una tasca, de l’obsessi<\/span>\u00f3\u00a0<\/span>per un gest, del manteniment d’un estat de pres\u00e8<\/span>ncia, i les difer<\/span>\u00e8<\/span>ncies apareixen en portar aquesta repetici\u00f3 <\/span>al l\u00ed<\/span>mit. Poso la meva atenci\u00f3 en el transcurs de les sensacions dels qui veuen com es duu a terme aquesta tasca. Intento comprendre si les difer<\/span>\u00e8<\/span>ncies que sorgeixen de la repetici\u00f3 <\/span>del gest s<\/span>\u00f3n suficients per a mantenir la meva atenci\u00f3 <\/span>com a\u00a0<\/span><\/b>p\u00fa<\/span>blic. El treball de composici\u00f3 <\/span>en aquests mons no consisteix a inserir nous materials dins de la tasca, sin<\/span>\u00f3 <\/span>a identificar i refor\u00e7<\/span>ar possibles punts d’ancoratge que ja es donen en l’acci<\/span>\u00f3<\/span>. Aquests punts poden servir com una esp<\/span>\u00e8<\/span>cie de respiraci\u00f3 del gest que dura. Trobar la fi de la tasca sol ser una part important del treball. A vegades acaba per esgotament, per<\/span>\u00f2 <\/span>quan no <\/span>\u00e9<\/span>s aix<\/span>\u00ed<\/span>, l’artista necessita prendre una decisi<\/span>\u00f3 <\/span>externa al gest. Aquest punt de parada pot definir-se en funci<\/span>\u00f3 de com es llegir<\/span>\u00e0 <\/span>o es reescriur<\/span>\u00e0 <\/span>l’obra al final, o en funci\u00f3 de les sensacions que es pret<\/span>\u00e9<\/span>n deixar al p<\/span>\u00fablic al final de l<\/span>\u2019<\/span>experi<\/span>\u00e8<\/span>ncia.<\/span><\/p>\n<\/div>\n

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Compartir una pr\u00e0ctica <\/span><\/b><\/p>\n<\/div>\n

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A vegades un m\u00f3n apareix a partir d’una metodologia trobada que es converteix en una pr\u00e0ctica, una esp\u00e8cie de joc, un conjunt de restriccions que es poden activar en grup, o individualment. Una partitura, una llista de tasques, un conjunt d’eines que poden ser transmeses i reapropiades per altri. Quan les pr\u00e0ctiques s\u00f3n el propi cos de la pe\u00e7a no importan tant les formes, ni els resultats est\u00e8tics, sin\u00f3 les maneres d’operar d’aquest m\u00f3n. En aquests casos, centro l’atenci\u00f3 en les regles emergents \u2014en aquest conjunt de restriccions que tradueixen les preguntes que mouen l’obra\u2014 i treballem per a afinar-les i no per a cristal\u00b7litzar-les en una forma concreta.<\/span><\/p>\n<\/div>\n

(Imatge de portada: Il\u00b7lustraci\u00f3 de Rafael Fraz\u00e3o. Foto: Carolina Campos)<\/p>\n","protected":false},"excerpt":{"rendered":"

Prendr\u00e9\u00a0com a l\u00edmit per a l’escriptura d’aquest text la idea de composici\u00f3 que ve juntament\u00a0amb l’enteniment de qu\u00e8\u00a0una pe\u00e7a (en el meu cas una pe\u00e7a de dansa) \u00e9s una invitaci\u00f3…<\/p>\n","protected":false},"author":2819,"featured_media":43497,"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":[6312],"tags":[],"coauthors":[6667],"acf":[],"yoast_head":"\nCREAR MONS, ORGANITZAR MONS, COMPARTIR AMB ALTRI<\/title>\n<meta name=\"description\" content=\"CREAR MONS, ORGANITZAR MONS, COMPARTIR AMB ALTRI de Carolina Campos. 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