{"id":63869,"date":"2025-02-10T07:30:02","date_gmt":"2025-02-10T06:30:02","guid":{"rendered":"https:\/\/a-desk.org\/?p=63869"},"modified":"2025-02-03T12:16:47","modified_gmt":"2025-02-03T11:16:47","slug":"la-frontera-sud-deuropa","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/la-frontera-sud-deuropa\/","title":{"rendered":"La frontera sud d&#8217;Europa"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Recentment, dins de l&#8217;exposici\u00f3 col\u00b7lectiva <\/span><i><span style=\"font-weight: 400;\">N\u00facleo Contempor\u00e1neo<\/span><\/i><span style=\"font-weight: 400;\"> comissariada per Adriano Pedrosa per a la 60a edici\u00f3 de la Biennale di Venezia (2024), es va poder contemplar un tap\u00eds brodat de grans dimensions realitzat per Bouchra Khalili (Marroc, 1975). En <\/span><i><span style=\"font-weight: 400;\">Sea-Drifts<\/span><\/i><span style=\"font-weight: 400;\"> (2024) l&#8217;artista franco-marroquina aborda una complexa investigaci\u00f3 sobre les rutes migrat\u00f2ries, espec\u00edficament sobre les que uneixen el nord i l&#8217;oest d&#8217;\u00c0frica amb les Illes Can\u00e0ries. Khalili empra el tap\u00eds tenyit amb blau indi natural com a estrat\u00e8gia per recordar les rutes comercials del segle XVI i, de pas, subvertir i redefinir la funci\u00f3 i la concepci\u00f3 tradicional de mapa i, per tant, les nocions tamb\u00e9 de territori i frontera.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Bouchra Khalili, amb un inter\u00e8s per visibilitzar les experi\u00e8ncies de les africanes i africans en una de les rutes migrat\u00f2ries m\u00e9s mort\u00edferes del m\u00f3n, submergeix l&#8217;espectador enmig d&#8217;una difusa frontera l\u00edquida que s&#8217;interromp amb un embolic de l\u00ednies blanques que connecten arxip\u00e8lag i continent. Malgrat que l&#8217;artista omet qualsevol altre element, la for\u00e7a d&#8217;aquell blau indi bufeteja i sedueix a parts iguals, provocant que el p\u00fablic es senti part\u00edcip de la mateixa. Aquest to de blau inunda tamb\u00e9 un gran llen\u00e7 titulat <\/span><i><span style=\"font-weight: 400;\">Poema del Atl\u00e1ntico. La noche<\/span><\/i><span style=\"font-weight: 400;\"> (1918-1919) de N\u00e9stor de la Torre (Gran Can\u00e0ria, Espanya, 1887-1938), una obra i artista claus en la hist\u00f2ria de l&#8217;art de Can\u00e0ries. <\/span><i><span style=\"font-weight: 400;\">Poema del Atl\u00e1ntico. La noche<\/span><\/i><span style=\"font-weight: 400;\"> va ser concebuda com una exaltaci\u00f3 de la natura on s&#8217;explora el misteri, la viol\u00e8ncia i la vastitud de l&#8217;oce\u00e0 sota la llum de la lluna.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">La composici\u00f3 ens descobreix dues morenes de tamany desproporcionat i dents afilades, com si fossin monstres marins, que neixen i es (con)fundeixen amb el mar. Una escena sublim que es complementa amb la figura de dos nens: un d&#8217;ells, de rostre fantasmag\u00f2ric, est\u00e0 a punt de ser devorat i l&#8217;altre, el semblant del qual traspua por i esgotament, cavalca a sobre d&#8217;una de les morenes intentant salvar la seva vida. <\/span><i><span style=\"font-weight: 400;\">Poema del Atl\u00e1ntico. La noche<\/span><\/i><span style=\"font-weight: 400;\"> podria passar desapercebut si no fos perqu\u00e8 l&#8217;artista proposa el binomi mort-Atl\u00e0ntic i perqu\u00e8 la figura que lluita per la seva vida t\u00e9 trets negroides, la primera pres\u00e8ncia de la qual es t\u00e9 const\u00e0ncia dins d&#8217;una pintura produ\u00efda a Can\u00e0ries d&#8217;un personatge racialitzat. Per\u00f2 segurament aquesta disposici\u00f3 dels elements no \u00e9s casual, al cap i a la fi, N\u00e9stor de la Torre va viure durant anys a Par\u00eds i no seria descabellat pensar que es va topar amb una pe\u00e7a acabada precisament un segle abans i posteriorment adquirida pel Louvre: <\/span><i><span style=\"font-weight: 400;\">La balsa de la Medusa<\/span><\/i><span style=\"font-weight: 400;\"> (1818-1819) de Th\u00e9odore G\u00e9ricault. Sense oblidar que l&#8217;escena del franc\u00e8s t\u00e9 lloc a la costa d&#8217;\u00c0frica Occidental, molt a prop de Can\u00e0ries, ambdues pintures comparteixen el mar embravit, els cossos flotant en el mar o una composici\u00f3 piramidal encap\u00e7alada per persones racialitzades.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">La destacada inclusi\u00f3 d&#8217;un home negre \u2013sobreentenem en els dos casos que tamb\u00e9 afric\u00e0- constitueix un gest est\u00e8tic i pol\u00edtic, encarnant una poderosa c\u00e0rrega simb\u00f2lica que transcendeix els l\u00edmits de la narrativa hist\u00f2rica representada. Suposa un acte de disrupci\u00f3 <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_63869_1('footnote_plugin_reference_63869_1_1');\" onkeypress=\"footnote_moveToReference_63869_1('footnote_plugin_reference_63869_1_1');\" ><sup id=\"footnote_plugin_tooltip_63869_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_63869_1_1\" class=\"footnote_tooltip\"> Engler, M. y Engler, P.: <\/span><i><span style=\"font-weight: 400;\">Manual de desobediencia civil<\/span><\/i><span style=\"font-weight: 400;\">. Icaria Editorial. Barcelona, 2022, p 185.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_63869_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_63869_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, com ho descriuen Mark i Paul Engler, un factor clau que fagocita un ineludible debat p\u00fablic. Significa visibilitzar all\u00f2 invisible, desobeir els sistemes de representaci\u00f3 legitimats i, d&#8217;alguna manera, difuminar les fronteres materials i immaterials que separen ambd\u00f3s continents. Incloure l&#8217;ef\u00edgie d&#8217;un afric\u00e0 en un relat europeu \u2013sigui al segle XIX o en l&#8217;actualitat- r\u00e0pidament es tradueix com un emblema de resist\u00e8ncia i d&#8217;esperan\u00e7a col\u00b7lectiva. Les postures din\u00e0miques i vigoroses dels personatges dels dos llen\u00e7os, a difer\u00e8ncia de la desolaci\u00f3 que domina la resta de les escenes, simbolitzen un potencial de redempci\u00f3 universal i obren una necess\u00e0ria reflexi\u00f3 sobre la universalitat del patiment hum\u00e0 i la lluita per la dignitat, desafiant els l\u00edmits imposats per la ra\u00e7a i la classe.<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">A Europa, als migrants i als seus descendents se&#8217;ls denega constantment l&#8217;acc\u00e9s a aquesta hist\u00f2ria comuna. Al mateix temps, conviuen amb el passat nacional tant com la poblaci\u00f3 nativa, essent considerats alhora com &#8220;els altres&#8221;<\/span><\/i><span style=\"font-weight: 400;\"> <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_63869_1('footnote_plugin_reference_63869_1_2');\" onkeypress=\"footnote_moveToReference_63869_1('footnote_plugin_reference_63869_1_2');\" ><sup id=\"footnote_plugin_tooltip_63869_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_63869_1_2\" class=\"footnote_tooltip\"> El-Tayeb, Fatima: <\/span><i><span style=\"font-weight: 400;\">Racismo y resistencia en la Europa dalt\u00f3nica<\/span><\/i><span style=\"font-weight: 400;\">. La Vor\u00e1gine. Cantabria, 2021, pp 86-87.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_63869_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_63869_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Tal com indica la investigadora i activista afroalemanya Fatima El-Tayeb, l&#8217;exclusi\u00f3 dels migrants africans en la historiografia europea reflecteix una tensi\u00f3 hist\u00f2rica entre les narratives hegem\u00f2niques i les experi\u00e8ncies marginades. La historiografia europea \u2013tradicionalment centrada en les contribucions de figures i esdeveniments del continent- ha reprodu\u00eft una visi\u00f3 euroc\u00e8ntrica que desestima les interaccions transculturals i les din\u00e0miques migrat\u00f2ries que han modelat Europa durant segles. Aquest silenciament no nom\u00e9s perpetua una visi\u00f3 incompleta del passat, sin\u00f3 que tamb\u00e9 for\u00e7a jerarquies culturals i pol\u00edtiques que afecten els migrants africans en el present.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">En aquest sentit, Can\u00e0ries, com la frontera sud d&#8217;Europa que \u00e9s, respon a un model com a m\u00ednim significatiu. L&#8217;Arxip\u00e8lag pol\u00edticament \u00e9s europeu per\u00f2 geogr\u00e0ficament i hist\u00f2ricament \u00e9s afric\u00e0, recordem que l&#8217;origen mateix de la comunitat can\u00e0ria es troba en les tribus berbers del nord d&#8217;\u00c0frica. No obstant aix\u00f2, la realitat \u00e9s altra. La construcci\u00f3 hist\u00f2rica europea i, per tant, can\u00e0ria ha tendit a relegar la pres\u00e8ncia africana a les perif\u00e8ries, etiquetant-la com a perif\u00e8rica o an\u00f2mala, malgrat els escassos 100 km que separen Can\u00e0ries d&#8217;\u00c0frica. Ja no nom\u00e9s parlem d&#8217;una frontera f\u00edsica sin\u00f3 tamb\u00e9 d&#8217;una emocional, constru\u00efda mitjan\u00e7ant discursos culturals i pol\u00edtics que reforcen l&#8217;alteritat del migrant, convertint-lo en un objecte de sospita o rebuig. Si b\u00e9 les pr\u00e0ctiques art\u00edstiques contempor\u00e0nies cada vegada s&#8217;ocupen m\u00e9s d&#8217;atendre totes aquelles lectures silencioses, anul\u00b7lades o infra-representades, no sempre ha estat aix\u00ed. Ruboritza, sens dubte, la escassa pres\u00e8ncia de discursos africans en les produccions art\u00edstiques can\u00e0ries, un clar s\u00edmptoma de l&#8217;educaci\u00f3 rebuda. No obstant aix\u00f2, a l&#8217;altre costat, es troben els esfor\u00e7os d&#8217;artistes com Teresa Correa (Gran Can\u00e0ria, Espanya, 1961) a l&#8217;hora d&#8217;integrar veus i experi\u00e8ncies africanes a la historiografia can\u00e0ria i, per tant, europea al llarg dels darrers 25 anys. La seva gran preocupaci\u00f3 ha estat la de construir una narrativa hist\u00f2rica inclusiva nascuda de la col\u00b7lectivitat que faci just\u00edcia a la complexitat del passat. D&#8217;entre la seva extensa producci\u00f3, caldria destacar <\/span><i><span style=\"font-weight: 400;\">Madre<\/span><\/i><span style=\"font-weight: 400;\">, aix\u00ed \u00e9s com ella mateixa anomena el crani 1383 ubicat dins de la col\u00b7lecci\u00f3 de cranis abor\u00edgens canaris del Museu Canari i que va trobar de manera fortu\u00efta el 1998; des de llavors no ha parat de retratar-lo. El crani, que correspon al d&#8217;una dona de proced\u00e8ncia nord-africana, li ha perm\u00e8s excavar sobre totes aquelles q\u00fcestions que Europa necessita (auto)avaluar: coneixement l\u00edmit, mem\u00f2ria, identitat i, per descomptat, frontera.<\/span><\/p>\n<p>[Imatge destacada: <span style=\"font-weight: 400;\">Bouchra Khalili, <\/span><i><span style=\"font-weight: 400;\">Sea-Drifts<\/span><\/i><span style=\"font-weight: 400;\"> (2024) a la Biennal de Ven\u00e8cia, 2024]<\/span><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_63869_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_63869_1();\">[<a id=\"footnote_reference_container_collapse_button_63869_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_63869_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_63869_1('footnote_plugin_tooltip_63869_1_1');\"><a id=\"footnote_plugin_reference_63869_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> Engler, M. y Engler, P.: <\/span><i><span style=\"font-weight: 400;\">Manual de desobediencia civil<\/span><\/i><span style=\"font-weight: 400;\">. Icaria Editorial. Barcelona, 2022, p 185.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_63869_1('footnote_plugin_tooltip_63869_1_2');\"><a id=\"footnote_plugin_reference_63869_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"> El-Tayeb, Fatima: <\/span><i><span style=\"font-weight: 400;\">Racismo y resistencia en la Europa dalt\u00f3nica<\/span><\/i><span style=\"font-weight: 400;\">. La Vor\u00e1gine. Cantabria, 2021, pp 86-87.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_63869_1() { jQuery('#footnote_references_container_63869_1').show(); jQuery('#footnote_reference_container_collapse_button_63869_1').text('\u2212'); } function footnote_collapse_reference_container_63869_1() { jQuery('#footnote_references_container_63869_1').hide(); jQuery('#footnote_reference_container_collapse_button_63869_1').text('+'); } function footnote_expand_collapse_reference_container_63869_1() { if (jQuery('#footnote_references_container_63869_1').is(':hidden')) { footnote_expand_reference_container_63869_1(); } else { footnote_collapse_reference_container_63869_1(); } } function footnote_moveToReference_63869_1(p_str_TargetID) { footnote_expand_reference_container_63869_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ 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de&#8230;<\/p>\n","protected":false},"author":2903,"featured_media":63865,"comment_status":"closed","ping_status":"closed","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":[7019],"tags":[],"coauthors":[7021],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>La frontera sur de Europa<\/title>\n<meta name=\"description\" content=\"Sobre las fronteras que recorren el sur de Europa e inmigraci\u00f3n\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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