{"id":7204,"date":"2012-12-31T05:22:39","date_gmt":"2012-12-31T05:22:39","guid":{"rendered":"http:\/\/a-desk.org\/2012\/12\/31\/camila-ramirez-vencer-o-morir\/"},"modified":"2012-12-31T05:22:39","modified_gmt":"2012-12-31T05:22:39","slug":"camila-ramirez-vencer-o-morir","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/camila-ramirez-vencer-o-morir\/","title":{"rendered":"Camila Ram\u00edrez: V\u00e8ncer o morir"},"content":{"rendered":"![\"Palas_Comunitarias-_MAC.jpg\"](\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/01\/Palas_Comunitarias-_MAC.jpg\")
Tres v\u00eddeos mostren una coreografia de poder a trav\u00e9s de tres estris de cuina transformats: una tassa amb sis nanses i una cassola amb quatre m\u00e0necs. En el seu interior, menjar i aigua. Les mans apareixen i desapareixen de l’escena lluitant per endur-se l’aliment. Malgrat la multiplicaci\u00f3 dels agafadors, nom\u00e9s una m\u00e0 s\u2019emporta el bot\u00ed. “V\u00e8ncer o morir” \u00e9s una senzilla met\u00e0fora sobre el frac\u00e0s de la utopia. I la resposta al cicle d’obra proposat per la jove Camila Ram\u00edrez (Antofagasta, Xile, 1988) el 2012.<\/p>\n
Durant el passat any, Camila Ram\u00edrez va exposar obres molt relacionades les unes amb les altres, per\u00f2 d’interpretaci\u00f3 oberta. Objectes que s\u00f3n, segons les seves pr\u00f2pies paraules, “inclusius, recognoscibles, ja que vull que siguin accessibles per a qualsevol tipus de p\u00fablic”. Eines de treball com pales, carretons, martells o destrals que pateixen mutacions a les seves extremitats: a la pala li surten deu bra\u00e7os, al carret\u00f3 tres rodes, etc. Deformacions que ens fan pensar en la solidaritat obrera, la for\u00e7a de la col\u00b7lectivitat i en l’explotaci\u00f3 laboral. Creacions que ens parlen en un llenguatge universal des d’una gram\u00e0tica local. Camila Ram\u00edrez viu en una zona perif\u00e8rica i prec\u00e0ria de la capital Santiago, La Cisterna: “el meu lloc d’origen em marca, encara que inconscientment. Vinc d’un lloc senzill, i l’origen d’un ho \u00e9s tot, el barri \u00e9s la p\u00e0tria. Jo connecto m\u00e9s amb el meu barri que amb el meu pa\u00eds “.<\/p>\n
Xile \u00e9s un dels pa\u00efsos on hi ha m\u00e9s desigualtat socioecon\u00f2mica del m\u00f3n, her\u00e8ncia d’un neoliberalisme can\u00edbal fundat pels Chicago Boys a l’\u00e8poca del dictador Pinochet. Partint d’aquesta premissa geogr\u00e0fica, podem entendre de diferent manera una altra de les seves creacions mostrades al 2012: la cadira universit\u00e0ria de tres seients. L’educaci\u00f3 a Xile est\u00e0 privatitzada fins a l’asf\u00edxia. En una altra exposici\u00f3, va abordar el problema de la col\u00b7lectivitat des d’un format m\u00e9s l\u00fadic: en “Un mili\u00f3 de llocs de treball” va utilitzar a diverses persones per subjectar un gronxador o un tobogan.<\/p>\n
\u00c9s molt f\u00e0cil llan\u00e7ar fletxes cap a d\u2019altres \u00e8poques art\u00edstiques on s’ha tractat l’assumpte de productivitat i valor social. Des de l\u2019art egipci fins a la propaganda sovi\u00e8tica. Per\u00f2 m’aturo davant els murals encarregats pel president Roosevelt a Diego Rivera i Clemente Orozco. A la d\u00e8cada dels 30, Estats Units passava la seva pitjor crisi pel crac del 29; necessitaven exal\u00e7ar les bondats de la ind\u00fastria i de la solidaritat comunit\u00e0ria entre els seus treballadors. Eines i maquin\u00e0ries eren el tel\u00f3 de fons d’aquests murals, que potenciaven el virtuosisme de la col\u00b7laboraci\u00f3 ciutadana, amb conclusions extretes, aix\u00f2 s\u00ed, de l’admiraci\u00f3 vers personatges com Lenin, Marx o Stalin, figures diab\u00f2liques per la ment dels nord-americans. D’aquella crisi poc se\u2019n va aprendre, i la mostra \u00e9s l\u2019actual crisi financera i econ\u00f2mica (que sembla que tampoc ens est\u00e0 ensenyant res). El capitalisme s\u2019ha esdevingut en una injusta divisi\u00f3 del treball, una dictadura del cr\u00e8dit i una guerra banc\u00e0ria: un empobriment de l’hemisferi sud, una expansi\u00f3 de la fam a \u00c0frica i \u00c0sia, davant l\u2019elititzaci\u00f3 de l’elit. Es poden multiplicar les nanses de les tasses, els m\u00e0necs de les cassoles, per\u00f2 sempre ser\u00e0 nom\u00e9s una m\u00e0 la que s\u2019ho emporti tot. Es poden construir pales de deu bra\u00e7os, que sempre seran usades per les mateixes mans obreres.<\/p>\n
“V\u00e8ncer o morir” (el que s\u2019end\u00fa l’aliment triomfa, l’altre desapareix) \u00e9s una resposta als plantejaments anteriors de Camila Ram\u00edrez. Li pregunto si en la seva tesi hi ha lloc per a l’esperan\u00e7a: “jo crec que s\u00ed, encara que \u00e9s complicat perqu\u00e8 la utopia en si no s\u00e9 si ens serveix definir-la com a possible o no possible. Jo em relaciono molt amb el romanticisme pol\u00edtic, he participat en activitats de partit, \u00e9s una cosa que em mou molt. I m’agradaria que la gent connect\u00e9s amb aix\u00f2 “.<\/p>\n","protected":false},"excerpt":{"rendered":"
Tres v\u00eddeos mostren una coreografia de poder a trav\u00e9s de tres estris de cuina transformats: una tassa amb sis nanses i una cassola amb quatre m\u00e0necs. En el seu interior,…<\/p>\n","protected":false},"author":1265,"featured_media":7192,"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":"\n
Camila Ram\u00edrez: V\u00e8ncer o morir – 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\/camila-ramirez-vencer-o-morir\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Camila Ram\u00edrez: V\u00e8ncer o morir – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Tres v\u00eddeos mostren una coreografia de poder a trav\u00e9s de tres estris de cuina transformats: una tassa amb sis nanses i una cassola amb quatre m\u00e0necs. 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Como cr\u00edtico de arte mochilero ha compartido momentos con artistas de Centroam\u00e9rica, M\u00e9xico o Chile. Y la lista aumentar\u00e1. Combatiendo el arte interesado, aplaudiendo el arte interesante.\",\"url\":\"https:\/\/a-desk.org\/ca\/autor\/santos\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Camila Ram\u00edrez: V\u00e8ncer o morir – A*Desk","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/ca\/magazine\/camila-ramirez-vencer-o-morir\/","og_locale":"ca_ES","og_type":"article","og_title":"Camila Ram\u00edrez: V\u00e8ncer o morir – A*Desk","og_description":"Tres v\u00eddeos mostren una coreografia de poder a trav\u00e9s de tres estris de cuina transformats: una tassa amb sis nanses i una cassola amb quatre m\u00e0necs. 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