{"id":7251,"date":"2013-01-21T02:00:00","date_gmt":"2013-01-21T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/01\/21\/l-ultim-acte-d-ouverture\/"},"modified":"2013-01-21T02:00:00","modified_gmt":"2013-01-21T02:00:00","slug":"l-ultim-acte-d-ouverture","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/l-ultim-acte-d-ouverture\/","title":{"rendered":"L\u2019\u00faltim acte d\u2019Ouverture"},"content":{"rendered":"![\"60809_443768989021316_495662075_n.jpg\"](\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/01\/60809_443768989021316_495662075_n.jpg\")
La Sala d\u2019Art Jove acabava el 2012 inaugurant l\u2019\u00faltima mostra d\u2019obres seleccionades a la convocat\u00f2ria oberta l’any 2011. Com \u00e9s habitual en les exposicions dels projectes seleccionats per la Sala d\u2019Art Jove, establir relacions entre uns projectes i altres \u00e9s complex, i \u00e9s que no \u00e9s aquest l\u2019objectiu principal de la mostra, sin\u00f3 el de donar veu a les obres escollides. Aix\u00ed i tot, \u00e9s cert que hi ha uns temes m\u00e9s habituals que d’altres, com ara la cr\u00edtica institucional, vista des de projectes com \u201cNO et preocupis pel FUTUR, ocupa-te\u2019n\u201d, de Quim Packard i Enric Farr\u00e9s, i \u201cBibliografia\u201d, de B\u00e1rbara S\u00e1nchez; o la mem\u00f2ria col\u00b7lectiva i la hist\u00f2rica, notable en projectes com \u201cEl m\u00f3n dels vencedors\u201d, d\u2019Ignasi Prat i el treball realitzat pel Taller de Ficci\u00f3 del Poble Sec. Per la seva banda, el projecte del col\u00b7lectiu Leland Palmer, amb la investigaci\u00f3 al voltant de la censura en contextos culturals no desentona gens a nivell conceptual al costat de tota la resta. Per \u00faltim, \u201c\/\u201d , d\u2019Alba Aguirre, Marta Bonhora, Bel\u00e9n Generelo i Anna Marg\u00f3, neix d\u2019una investigaci\u00f3 sobre les relacions entre l’art i l’educaci\u00f3.<\/p>\n
Justament \u201c\/\u201d es mostra en l\u2019exposici\u00f3 en forma d\u2019una s\u00e8rie de fotografies acompanyada cadascuna d\u2019una breu explicaci\u00f3 del qu\u00e8 s\u2019hi troba representat. El que tenen en com\u00fa totes les imatges \u00e9s que a nivell formal, la seva composici\u00f3 es pot resumir en una diagonal, que va en la mateixa direcci\u00f3 que el s\u00edmbol \u2018\/\u2019, el qual d\u00f3na t\u00edtol al projecte. Des del bra\u00e7 d\u2019un gat xin\u00e8s de la sort fins a una grapadora o la posici\u00f3 del cos en el moment de fer un exercici f\u00edsic, junt a molts altres casos, actuen com a entrades d\u2019aquest extens cat\u00e0leg. La relaci\u00f3 de tot plegat amb la investigaci\u00f3 que han portat a terme sobre les tensions entre l’art i l’educaci\u00f3 no queda clara en les peces que trobem a l\u2019espai expositiu, i falta informaci\u00f3 per arribar a comprendre aquests vincles; tot i aix\u00ed, la pe\u00e7a funciona tant a nivell visual com conceptual, pel seu llenguatge en clau d\u2019humor, i per la r\u00e0pida connexi\u00f3 que es pot fer entre les imatges.<\/p>\n
Al costat, i canviant de tema totalment, trobem una cantonada de la sala amb parets, sostre i terra grisos. \u00c9s l\u2019espai destinat al material elaborat pel Taller de Ficci\u00f3 del Poble Sec, i en el que s\u2019ha treballat al voltant de la Pla\u00e7a Navas, un lloc que des de mitjans dels anys 20 fins l\u2019actualitat s\u2019ha trobat cont\u00ednuament en remodelaci\u00f3. Al llarg de la realitzaci\u00f3 d\u2019aquest projecte, s\u2019ha col\u00b7leccionat tota mena de documentaci\u00f3 sobre la pla\u00e7a, com opinions i records dels ve\u00efns, fotografies, dibuixos, i pl\u00e0nols de la pla\u00e7a abans i despr\u00e9s de la \u00faltima remodelaci\u00f3. A m\u00e9s de mostrar-se alguns d\u2019aquests documents i un eix cronol\u00f2gic en el qu\u00e8 s\u2019han anat anotant els canvis, en aquest espai tamb\u00e9 s\u2019hi projecta un v\u00eddeo, anomenat \u201cAqu\u00ed es aparcamiento\u201d, en el que tres actors truquen a l\u2019empresa propiet\u00e0ria de l\u2019aparcament que s\u2019ha constru\u00eft a sota la pla\u00e7a i demanen informaci\u00f3 sobre la possibilitat d\u2019obtenir certs privilegis per a la compra d\u2019una pla\u00e7a de p\u00e0rquing. El m\u00e9s interessant de contrastar tota aquesta documentaci\u00f3 \u00e9s el fet de veure com es posa de manifest que les opinions d\u2019alguns ve\u00efns es contradiuen amb el que mostren algunes fotografies, i de fet, aquest \u00e9s un dels potencials d\u2019aquest Taller de Ficci\u00f3, que d\u2019alguna manera ha reconstru\u00eft la hist\u00f2ria recent d\u2019aquesta pla\u00e7a a trav\u00e9s de les diferents veus dels seus habitants, anant m\u00e9s enll\u00e0 de si aquestes veus s\u00f3n considerades certes o no. <\/p>\n
Pel que fa a \u201cBibliografia\u201d, B\u00e0rbara S\u00e1nchez ha realitzat una s\u00e8rie d\u2019entrevistes a diferents persones vinculades amb el m\u00f3n universitari (tant alumnes com docents, la gran majoria de Belles Arts), sobre la seva experi\u00e8ncia en relaci\u00f3 a la bibliografia. \u00c9s f\u00e0cil endevinar que l\u2019autora creu que \u00e9s un recurs mal utilitzat per part dels professors, i que \u00e9s possible que la crisi en la que es troba el sistema universitari hagi condu\u00eft conseq\u00fcentment a la crisi de la bibliografia. Potser \u00e9s que totes les coses estan en crisi, i la bibliografia no podia ser menys. En qualsevol cas, no s\u2019arriba a una conclusi\u00f3 concreta de qu\u00e8 \u00e9s el que passa, sin\u00f3 que la bibliografia queda com a quelcom menys valorat del que alguns creuen que hauria d\u2019estar, i en general tothom s\u2019excusa: uns perqu\u00e8 “els alumnes no llegeixen”; i altres perqu\u00e8 “els professors donen un llistat etern de refer\u00e8ncies sense fer-ne cap comentari i que es fa il\u00b7legible”.<\/p>\n
El projecte \u201cNO et preocupis pel FUTUR, ocupa-te\u2019n\u201d t\u00e9 lloc en forma d\u2019un c\u00e8rcol de pl\u00e0stic rosa i unes figures o trossos de fang escampats pel terra d\u2019un rac\u00f3 de la sala (un parell tamb\u00e9 penjades del sostre), i entre ells les lletres \u2018NO FUTUR\u2019. <\/p>\n
D\u2019una forma tamb\u00e9 sint\u00e8tica, encara que ni molt menys tan na\u00eff com la que acabo de mencionar, \u201cEl m\u00f3n dels vencedors\u201d de Prat \u00e9s representat per la fotografia dels afores d\u2019una de les resid\u00e8ncies de Francisco Franco. El fet que aquests projectes tinguin aquesta pres\u00e8ncia discreta, simb\u00f2lica i m\u00e9s aviat amb\u00edgua, es deu al fet que el seu treball es materialitza b\u00e0sicament en unes edicions encara no presentades. <\/p>\n
El treball del col\u00b7lectiu Leland Palmer tampoc es troba de manera f\u00edsica a l\u2019exposici\u00f3 actual, com en canvi s\u00ed que va passar en l\u2019Acte I del cicle Ouverture, quan van dedicar un espai a uns fulletons que narraven el cas del tancament de l\u2019Espai Zero1 com un cas de censura, amb un sarcasme tan fi que fins i tot feia mal. De tota manera, tot i no tenir una representaci\u00f3 f\u00edsica a l\u2019espai expositiu del seu treball d\u2019investigaci\u00f3 al voltant de casos de censura, s\u00ed que han portat a terme durant els \u00faltims mesos del 2012 una activitat rellevant a la xarxa, al seu web<\/a>, on han publicat un parell de converses amb Mart\u00ed Manen, Jorge Lu\u00eds Marzo i David Santeul\u00e0ria sobre el paper de la censura i l\u2019autocensura en els processos de gesti\u00f3 cultural. El tema que aquest col\u00b7lectiu treballa \u00e9s m\u00e9s que vigent, i per desgr\u00e0cia, tot apunta a que podran anar sumant casos a la seva investigaci\u00f3, com el recent tancament de Can Xalant, que es recopilar\u00e0, en teoria, en una futura edici\u00f3.<\/p>\n","protected":false},"excerpt":{"rendered":"La Sala d\u2019Art Jove acabava el 2012 inaugurant l\u2019\u00faltima mostra d\u2019obres seleccionades a la convocat\u00f2ria oberta l’any 2011. Com \u00e9s habitual en les exposicions dels projectes seleccionats per la Sala…<\/p>\n","protected":false},"author":1259,"featured_media":7249,"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":[6467],"acf":[],"yoast_head":"\n
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