{"id":7130,"date":"2012-12-13T01:36:00","date_gmt":"2012-12-13T01:36:00","guid":{"rendered":"http:\/\/a-desk.org\/2012\/12\/13\/estupor-hans-haacke-a-martorell\/"},"modified":"2012-12-13T01:36:00","modified_gmt":"2012-12-13T01:36:00","slug":"estupor-hans-haacke-a-martorell","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/estupor-hans-haacke-a-martorell\/","title":{"rendered":"Estupor\u2026 Hans Haacke a Martorell"},"content":{"rendered":"

\"C\u00c3\u00a9sped Just a l’entrar al Muxart Espai d’Art i Creaci\u00f3 de Martorell, poblaci\u00f3 propera a Barcelona, em sorpr\u00e8n una obra de Hans Haacke. Estupor, encara que no tremolors, per la pres\u00e8ncia d’aquest artista internacional en un centre de recent inauguraci\u00f3, i amb un programa d’autors i comissaris emergents. A la sala hi ha l\u2019obra de Haacke Grass grows<\/em>, un monticle de terra on hi germina gespa natural, que tot i les condicions de l’interior, segueix indiferent el seu proc\u00e9s de creixement. Simple i natural, un sistema amb vida pr\u00f2pia de la mateixa genealogia cr\u00edtica d\u2019obres com Condensating Cube<\/em> o Bowery Seeds<\/em>. Una pe\u00e7a que no representa res, que \u00e9s ella mateixa una realitat aut\u00f2noma i aleat\u00f2ria, ara, un sistema on es relacionen diversos elements, uns naturals i d\u2019altres de narratius.<\/p>\n

La gespa creix en funci\u00f3 de les condicions de la sala. Aquesta relaci\u00f3 segueix un proc\u00e9s ali\u00e8 al sostre institucional que l’allotja, i el p\u00fablic no pot identificar les variables del temps de germinaci\u00f3. Una cosa semblant a un atzar bot\u00e0nic del qual s’apropia el mateix sistema de l’art. Haacke amb aquesta obra ens presta un contrapunt org\u00e0nic al sistema constitucional de l’art, als seus fluxos econ\u00f2mics i pol\u00edtics. Grass Grown<\/em> (1969-2012) \u00e9s una obra aut\u00f2noma que nom\u00e9s reacciona al seu entorn, aliena als prop\u00f2sits o el treball de l’autor, tamb\u00e9 a la recepci\u00f3 de l’espectador o als interessos institucionals. La realitat se sobreposa al protocol de l’espai cultural, i el munt d’herba s’independitza de l’artista, q\u00fcestionant en silenci el concepte mateix d’autor o d’originalitat. El proc\u00e9s natural es transforma, dins el museu, en proc\u00e9s narratiu mitjan\u00e7ant una teatralitzaci\u00f3, un artifici ret\u00f2ric.<\/p>\n

Haacke \u00e9s el creador biol\u00f2gic d’aquesta obra, realitzada en diverses ocasions i actualment al Haus der Kunst de Munic. A Martorell, el veritable autor de la gespa \u00e9s Pep Vidal, que mitjan\u00e7ant t\u00e8cniques i processaments d’alta precisi\u00f3 i esfor\u00e7, realitza una obra igual, en forma i volum, a la de l’artista alemany. El prop\u00f2sit \u00e9s una cosa tan in\u00fatil, i en aquest cas impossible, com la de copiar l’aleatorietat del creixement de l’herba en un altre lloc, i a partir d’una altra obra art\u00edstica. Doble paradoxa, sim\u00e8trica i aporia que assumeix aquest projecte.<\/p>\n

Aquesta obra, el remake<\/em> de Grass Grown<\/em>, forma part del programa expositiu Apropiaci\u00f3 indeguda, comissariat per Laura Bel i Rafael Haro. Tots els projectes que van apareixent a les sales de l’espai Muxart de Martorell, en diferents temps i artistes (Ellen Wilkinson, Cristina Prats, Alba Aguirre, Joana Santamans, Oriol S\u00e1nchez, Albert Alcoz i Nico Roig), s\u00f3n processos d’apropiaci\u00f3 o desviament de recursos i narratives d’altres peces o registres conceptuals. El dif\u00fas concepte d\u2019”apropiaci\u00f3” guia aquest projecte, i Pep Vidal direcciona la seva obra a tres objectius: continuar q\u00fcestionant la noci\u00f3 d’autoria mitjan\u00e7ant l’apropiaci\u00f3 d’una obra de Haacke; observar la inutilitat de la tecnologia en processos cient\u00edfics o est\u00e8tics; i reflexionar sobre la impossibilitat de reproduir certs sistemes que, de forma natural i senzilla, ens envolten.<\/p>\n

\"Proceso Per en Pep Vidal, un matem\u00e0tic ara en producci\u00f3 de cr\u00edtica i art contemporani (www.pepvidal.com), les variables desconegudes de qualsevol sistema natural s\u00f3n aleat\u00f2ries i, com l’atzar duchampi\u00e0<\/em>, tracen la frontera entre el que coneixem i all\u00f2 desconegut. La ci\u00e8ncia i l’art comparteixen aquest repte. \u00c9s impossible, potser gratu\u00eft, determinar com i quan creixer\u00e0 l’herba en aquest espai no natural, per\u00f2 al llarg de les setmanes d’exposici\u00f3, Vidal se sotmet a un minuci\u00f3s proc\u00e9s t\u00e8cnic de simulaci\u00f3 haackeana<\/em>. L’artista coneix amb precisi\u00f3 l’estat de l’obra de Haacke i s’esfor\u00e7a a replicar-la amb meticulositat, acotant l’espai i utilitzant tecnologia 3D per a la seva construcci\u00f3. L’obra s’inicia el dia de la inauguraci\u00f3 i una setmana m\u00e9s tard es conclou amb un m\u00ednim error de c\u00f2pia. Cada setmana es repeteix el proc\u00e9s comparatiu, entre l’obra de Munic i la de Martorell. Mitjan\u00e7ant reparacions t\u00e8cniques, els dos monticles segueixen gaireb\u00e9 exactes tot i les difer\u00e8ncies del lloc i condicions clim\u00e0tiques.<\/p>\n

L’\u00fas desproporcionat de la tecnologia i m\u00e8todes matem\u00e0tics que practica Pep Vidal en tot el proc\u00e9s de constituci\u00f3 i restauraci\u00f3 del tur\u00f3 d’herba, una autoritat que legitima l’esfor\u00e7 hum\u00e0, no poden evitar l’experi\u00e8ncia frustrant de la inutilitat de la tecnologia al servei d’un desvariejar ret\u00f2ric. Copiar, replicar, la simplicitat de l’herba que creix, i fer-ho a trav\u00e9s d’una obra art\u00edstica, concreta i reconeguda, suposa una teatralitzaci\u00f3<\/em>, \u00e9s a dir, una temporalitat entre la pres\u00e8ncia de l’obra i la seva performativitat. L’estructura de repetici\u00f3, com en un bucle, crea una obra sense expectatives ni resson\u00e0ncia psicol\u00f2gica, que nom\u00e9s mostra la impossibilitat d’una determinada posici\u00f3 de poder del discurs cient\u00edfic o art\u00edstic. Davant d\u2019aquest gest, amb tots els referents i en un nou espai per a l’art contemporani en temps de recessi\u00f3, no puc obviar el meu estupor celebratiu: Haacke, Vidal, Muxart, Munic i Martorell em sedueixen amb l’er\u00f2tica del frac\u00e0s i el poder de les perif\u00e8ries, dels desviaments com a t\u00e0ctica constitutiva de sentit.<\/p>\n","protected":false},"excerpt":{"rendered":"

Just a l’entrar al Muxart Espai d’Art i Creaci\u00f3 de Martorell, poblaci\u00f3 propera a Barcelona, em sorpr\u00e8n una obra de Hans Haacke. Estupor, encara que no tremolors, per la pres\u00e8ncia…<\/p>\n","protected":false},"author":1263,"featured_media":7113,"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":"\nEstupor\u2026 Hans Haacke a Martorell – 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\/estupor-hans-haacke-a-martorell\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Estupor\u2026 Hans Haacke a Martorell – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Just a l’entrar al Muxart Espai d’Art i Creaci\u00f3 de Martorell, poblaci\u00f3 propera a Barcelona, em sorpr\u00e8n una obra de Hans Haacke. 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