{"id":6991,"date":"2012-11-10T02:00:00","date_gmt":"2012-11-10T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2012\/11\/10\/fabricacio-i-sinceritat-tracey\/"},"modified":"2012-11-10T02:00:00","modified_gmt":"2012-11-10T02:00:00","slug":"fabricacio-i-sinceritat-tracey","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/fabricacio-i-sinceritat-tracey\/","title":{"rendered":"Fabricaci\u00f3 i sinceritat. Tracey Emin al MALBA de Buenos Aires"},"content":{"rendered":"<p><img decoding=\"async\" class=\" alignleft size-full wp-image-6947\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2012\/11\/Emin-foto.jpg\" alt=\"Emin-foto.jpg\" align=\"left\" width=\"670\" height=\"480\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2012\/11\/Emin-foto.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2012\/11\/Emin-foto-558x400.jpg 558w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/> L\u2019obra de Tracey Emin (1963) es pot llegir com una autobiografia constru\u00efda amb fragments materials i imaginaris carregats de sentiment, hiperactivitat emocional i una dosis variable de psicopatologia, desplegada enmig de l\u2019esplendor de l\u2019art brit\u00e0nic dels noranta i, per extensi\u00f3, de tot l\u2019art contemporani com a ind\u00fastria. Passada pel sed\u00e0s d\u2019aquesta ind\u00fastria, la barreja desafiant de vida privada, sexualitat recalcitrant i atacs de nervis d\u00f3na com a resultat un conjunt de documents vius \u2013v\u00eddeos, instal\u00b7lacions, aquarel\u00b7les, escultures en ne\u00f3, textos&#8230;- que simult\u00e0niament beuen d\u2019all\u00f2 \u00edntim i en all\u00f2 espectacular: en l\u2019auto-construcci\u00f3 com a figura p\u00fablica i en la despulla del malestar dom\u00e8stic, en l\u2019arrog\u00e0ncia i en la vulnerabilitat.<\/p>\n<p><em>Tracey Emin. How it Feels<\/em> \u2013 una selecci\u00f3 de cinc dels seus v\u00eddeos- y <em>Proximidad del amor<\/em>&#8211; una antologia de les seves columnes per <em>The Independent<\/em>, editades en col\u00b7laboraci\u00f3 amb Editorial Mansalva- s\u00f3n les eines a trav\u00e9s de les quals el MALBA posa a disposici\u00f3 del p\u00fablic de Buenos Aires una veta gens menyspreable de l\u2019obra d\u2019Emin, en articular dues s\u00e8ries diferents de transposicions: la de la vida en obra \u2013 que es pot rastrejar en els seus v\u00eddeos- i la de l\u2019artista en celebritat, que apareix en les columnes, escrites amb un estil franc i directe per un lector de premsa \u2013 premsa d\u2019espectacles, m\u00e9s precisament, o fins i tot de xafarderies.<\/p>\n<p>Si els v\u00eddeos \u2013 seleccionats pel curador Philip Larratt-Smith \u2013 tenen el seu cicle entre mitjans dels noranta i el 2000, les columnes estan escrites, de mitja, deu anys m\u00e9s tard. Aix\u00ed queden en perspectiva no solament dels canvis  a la carrera d\u2019Emin, sin\u00f3 tamb\u00e9 la forma en la que van ser solidaris de la reconversi\u00f3 de la ind\u00fastria de l\u2019art en un subsistema de l\u2019espectacle global.<\/p>\n<p>En la mateixa mesura en qu\u00e8 v\u00eddeos com <em>Why I never became a Dancer <\/em> (1995) i <em>How it Feels<\/em> (1996) posen en escena un fort desig d\u2019auto-construcci\u00f3 com a personatge, \u00e9s clar que Tracey Emin reinverteix el seu repertori d\u2019actituds art\u00edstiques en el sistema de medis que, despr\u00e9s d\u2019un parell de borratxeres en c\u00e0mera i entropessades a l\u2019estora vermella, no tardaria en proveir-la de fama nacional com estendard femen\u00ed, emocional i sincer del sistema de l\u2019art brit\u00e0nic del moment \u2013sinceritat que abasta la relaci\u00f3 no tant amb la paraula pr\u00f2pia, sin\u00f3 sobre tot, amb el p\u00fablic \u00e0vid de la subst\u00e0ncia confessional dels famosos.<\/p>\n<p>En les columnes per a <em>The Independent<\/em> \u2013seleccionades i tradu\u00efdes per Cec\u00edlia Pav\u00f3n de l\u2019antologia original, <em>My Life in a Column<\/em>, publicada per Rizzoli l\u2019any passat-, el desplegament de la sinceritat construeix un pacte de lectura subordinat al sistema de les \u201ccelebrities\u201d: conflictes personals, drogues, divorcis, alcohol \u2013acompanyen una reflexi\u00f3 del tipus moral sobre el que significa tenir una vida p\u00fablica el punt de partida del qual va ser una obra constru\u00efda a la vegada sobre l\u2019exhibici\u00f3 de la vida privada. Les celebritats com Paris Hilton o Kim Karashian converteixen di\u00e0riament la seva vida en un producte amb el que l\u2019audi\u00e8ncia forma una mena de moral pr\u00e0ctica d\u2019actualitzaci\u00f3 constant: marquen un rumb per a que els seus fans orientin les seves pr\u00f2pies vides. El que per autors com Isabelle Graw i altres \u00e9s el punt de partida de la cultura de la celebritat, el fet de convertir la pr\u00f2pia vida en una marca, porta impl\u00edcita la possibilitat de convertir aquesta marca en un relat exemplar: la llum p\u00fablica de les celebritats il\u00b7lumina les vides privades en temes tant variats com el vestir i la lluita contra les addiccions o el sobrep\u00e8s. En el cas de Tracey Emin, el seu tracte amb la soledat, el sexe i les drogues configura un proc\u00e9s mediat per l\u2019autobiografia com a fonament est\u00e8tic i humor\u00edstic: la permanent hibridaci\u00f3 d\u2019all\u00f2 privat i all\u00f2 p\u00fablic es torna un element desafiant, com si un dels atributs del discurs confessional fos el poder descobrir vulnerabilitats alienes.<\/p>\n<p>Com observa Fernanda Laguna en una de les entrades del cat\u00e0leg de l\u2019exhibici\u00f3, les obres de biaix auto-referencial porten impl\u00edcit un ritual col\u00b7lectiu, en la mesura en qu\u00e8 permeten ser \u201crearmades\u201d per altres persones, \u00e9s a dir, per part de l\u2019audi\u00e8ncia. A l\u2019obra de Tracey Emin, com en el sistema de la celebritat, aquest aspecte col\u00b7lectiu \u00e9s transitiu a les masses. Reviure les seves penes i les seves alegries quotidianes implica incorporar una lli\u00e7\u00f3 de vida; una vida, tal vegada, massa semblant a un producte.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>L\u2019obra de Tracey Emin (1963) es pot llegir com una autobiografia constru\u00efda amb fragments materials i imaginaris carregats de sentiment, hiperactivitat emocional i una dosis variable de psicopatologia, desplegada enmig&#8230;<\/p>\n","protected":false},"author":1258,"featured_media":6947,"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":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Fabricaci\u00f3 i sinceritat. 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