{"id":7307,"date":"2013-02-01T02:00:00","date_gmt":"2013-02-01T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/02\/01\/turner-prize-2012-la-conjectura\/"},"modified":"2013-02-01T02:00:00","modified_gmt":"2013-02-01T02:00:00","slug":"turner-prize-2012-la-conjectura","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/","title":{"rendered":"Turner Prize 2012: la conjectura del premi"},"content":{"rendered":"

\"Elizabeth Les exposicions lligades a un premi d’art tenen una cosa que no tenen la resta d’exposicions: la contesa silenciosa entre els seus participants davant aquesta condici\u00f3 singular, sobre la qual es construeixen la majoria de conquestes, un guard\u00f3 del calibre del Turner Prize<\/a> en aquest cas. Pensant en l’espectador, que accedeix a un espai demarcat per la construcci\u00f3 d’un quadril\u00e0ter subtil per incorpori, no \u00e9s el mateix anar a les sales de la Tate Gallery abans o despr\u00e9s de con\u00e8ixer la decisi\u00f3 del jurat. Perqu\u00e8 potser no estaria de m\u00e9s indicar que quan no es coneix encara el guanyador, l’observaci\u00f3 dels projectes exposats es construeix des d’una atenci\u00f3 m\u00e9s homog\u00e8nia. A l\u2019estil de detectiu est\u00e8tic, l’espectador fa el sondeig buscant indicis i proves premonit\u00f2ries d’una decisi\u00f3 aliena -tot i aquesta apel\u00b7laci\u00f3 cont\u00ednua a l’audi\u00e8ncia que practica l’esfera de l’art-. No obstant aix\u00f2, quan es coneix el guanyador pr\u00e8viament, la nostra atenci\u00f3 sol estar mediatitzada per l\u2019status quo d’un premi que jerarquitza inevitablement els recorreguts art\u00edstics. I la nostra recepci\u00f3.<\/p>\n

Davant d’un esdeveniment com el Turner Prize, molts ens sentir\u00edem impel\u00b7lits a parlar m\u00e9s dels que van ser nominats per\u00f2 no van guanyar. Fins i tot, en un deliri de subversi\u00f3, podr\u00edem atrevir-nos a construir una altra exposici\u00f3 amb altres projectes i altres artistes. Passa que, de vegades, i amb certa resignaci\u00f3 per inc\u00f3rrer en el consens, un coincideix amb les valoracions d’un jurat i surt de la sala d’exposicions-quan el guanyador era una hip\u00f2tesi- amb un projecte ocupant la mem\u00f2ria recent: The Woolworths Choir of 1979<\/em> d\u2019Elisabeth Price.<\/p>\n

Nominada per la seva exposici\u00f3 al BALTIC Centre for Contemporary Art de Gateshead, on va presentar una trilogia de v\u00eddeo-instal\u00b7lacions entre les que hi ha la pe\u00e7a que ocupa una sala a les fosques a la Tate, el treball de Price funciona per combinaci\u00f3 i reanimaci\u00f3 de textos preexistents, imatges d’arxiu i un \u00fas estructural i narratiu del so. A The Woolworths Choir of 1979<\/em> trobem all\u00f2 que podria servir per definir les v\u00eddeo-instal\u00b7lacions de l’artista: la pres\u00e8ncia d’un narrador omniscient autoritari que, lluny d’apar\u00e8ixer mitjan\u00e7ant l’estrat\u00e8gia del subt\u00edtol, sorgeix a trav\u00e9s de definicions i frases independents a manera d’esl\u00f2gans, en una tipografia que invoca l’estil de Barbara Kruger, una est\u00e8tica visual predominantment en blanc i negre que construeix aquella atmosfera de ci\u00e8ncia-ficci\u00f3 d’abans, on la pres\u00e8ncia humana t\u00e9 un paper objectual; la creaci\u00f3 d’un espai ulterior a la imatge, donat per la inoculaci\u00f3 ambiental del so. <\/p>\n

Aquesta insist\u00e8ncia en l’espai, ara arquitect\u00f2nic, es repeteix des de la configuraci\u00f3 argumental. The Woolworths Choir of 1979<\/em> s’origina seq\u00fcencialment mitjan\u00e7ant la polis\u00e8mia del terme “choir”. En definir simult\u00e0niament una zona eclesi\u00e0stica, un conjunt de cantants i els feixos de papers per l’enquadernaci\u00f3, Price impulsa per interconnexi\u00f3 una segona lectura que vincularia els processos art\u00edstics amb els socials i amb els arxiv\u00edstics. Com a corol\u00b7lari, el v\u00eddeo acaba entre aplaudiments unitaris amb l’esdeveniment que origina el seu t\u00edtol: un incendi en un magatzem de mobles de la marca Woolworths, a Manchester, l\u2019any 1979. Per entendre l’impacte que provoca aquest treball podria emprar un raonament simple per\u00f2 concloent: ara que la nostra paci\u00e8ncia audiovisual t\u00e9 un l\u00edmit d’escassos minuts, els vint que dura The Woolworths Choir of 1979 <\/em> succeeixen vertiginosament i, un cop acabats, ve de gust repetir.<\/p>\n

Spartacus Chetwynd, Paul Noble i Luke Fowler s\u00f3n la resta d’artistes que constitueixen un premi que, tot i l’er\u00f2tica de la vict\u00f2ria, funda part del seu atractiu en la incertesa moment\u00e0nia i en una agrupaci\u00f3 expositiva. Amb una instal\u00b7laci\u00f3 derivada d’una performance, Odd Man Out, Spartacus Chetwynd proposa un altre projecte on el carnavalesc “fet a m\u00e0” es barreja amb la densitat de referents te\u00f2rics i l’estructuraci\u00f3 de les comunitats socials, creant una actuaci\u00f3 ritual en la qu\u00e8 s’apel\u00b7la directament l’espectador, i sorgeix de nou una problem\u00e0tica: \u00bfl\u2019audi\u00e8ncia forma part d’un projecte pel fet de transformar la sala d’exposicions en una representaci\u00f3 d’un cerimonial on l’espectador roman sempre en el paper que l’artista li assigna?<\/p>\n

All divides selves<\/em> \u00e9s un documental de Luke Fowler al voltant de la figura de l’anti-psiquiatra RD Laing. Com en treballs anteriors, esdev\u00e9 protagonista un personatge marginal emprant una narrativa de seguiment que converteix l’espectador en testimoni. Unint l’est\u00e8tica experimental del cinema expandit amb un llenguatge visual estructuralista, Fowler sembla entendre la cinematografia documental com una mena d’estudi sociol\u00f2gic des del qual analitzar comportaments i situacions perif\u00e8rics. Com tot investigador -i malgrat aquesta neutralitat que l’artista s’autoproclama-, el posicionament es troba ja impl\u00edcit en l’elecci\u00f3 dels temes. Possiblement la major queixa davant All divides selves<\/em> \u00e9s producte del seu car\u00e0cter cinematogr\u00e0fic, la seva llarga durada i la (im)pertin\u00e8ncia d’integrar aquests formats en un espai tan donat a la intrusi\u00f3 i la distracci\u00f3 com la sala del museu. Com al\u00b7legat a favor, podria argumentar que si hi ha alguna cosa que atorga valor al territori art\u00edstic \u00e9s la seva certa i eventual legitimitat per a l\u2019inconvenient. Entengui’s la disconformitat amb els temps de lectura als que ens anem habituant i acomodant.<\/p>\n

La sala que ocupa Paul Noble est\u00e0 presidida per fragments de Nobson Newton<\/em>, un m\u00f3n sorgit als anys 90 on es dibuixa -literalment- una ficci\u00f3 visual en qu\u00e8 es barregen la perspectiva cavalleresca, la s\u00e0tira, una arquitectura tipogr\u00e0fica, la paraula -inventada- com a nucli i embri\u00f3 estructural, les figures de Henry Moore i una idea de geografia sense referents espai-temporals. Des d’aquest il\u00b7leg\u00edtim exercici de jurat en l’espectador al qual indueix una exposici\u00f3 sint\u00e8tica com la del Turner Prize, Paul Noble hagu\u00e9s guaitat per la porta dels guanyadors abans de descobrir l\u2019Elisabeth Price i The Woolworths Choir of 1979. No obstant aix\u00f2, \u00e9s dif\u00edcil, per no dir inviable, emetre un dictamen sobre una exposici\u00f3 que recull alguns treballs d’altres exposicions que no s’han vist i que s\u00f3n el motiu de les nominacions a Turner. \u00c9s m\u00e9s, \u00bfseria possible metabolitzar una exposici\u00f3 que sorgeix de i per a un premi sense filtrar per les jerarquies, categories i fetitxes que la competici\u00f3 instiga?<\/p>\n","protected":false},"excerpt":{"rendered":"

Les exposicions lligades a un premi d’art tenen una cosa que no tenen la resta d’exposicions: la contesa silenciosa entre els seus participants davant aquesta condici\u00f3 singular, sobre la qual…<\/p>\n","protected":false},"author":1273,"featured_media":7296,"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":"\nTurner Prize 2012: la conjectura del premi – 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\/turner-prize-2012-la-conjectura\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Turner Prize 2012: la conjectura del premi – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Les exposicions lligades a un premi d’art tenen una cosa que no tenen la resta d’exposicions: la contesa silenciosa entre els seus participants davant aquesta condici\u00f3 singular, sobre la qual...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2013-02-01T02:00:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"670\" \/>\n\t<meta property=\"og:image:height\" content=\"447\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Sonia Fern\u00e1ndez Pan\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sonia Fern\u00e1ndez Pan\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Sonia Fern\u00e1ndez Pan\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/\",\"name\":\"Turner Prize 2012: la conjectura del premi – A*Desk\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg\",\"datePublished\":\"2013-02-01T02:00:00+00:00\",\"dateModified\":\"2013-02-01T02:00:00+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/de7a77f88e8009020ac6e8310919da27\"},\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg\",\"width\":670,\"height\":447,\"caption\":\"Elizabeth Price\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Turner Prize 2012: la conjectura del premi\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/de7a77f88e8009020ac6e8310919da27\",\"name\":\"Sonia Fern\u00e1ndez Pan\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/e53ec11b0dc9b9e47fbce9c40d068533\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/62e498368a94a3583abdd914370941e9?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/62e498368a94a3583abdd914370941e9?s=96&d=mm&r=g\",\"caption\":\"Sonia Fern\u00e1ndez Pan\"},\"sameAs\":[\"http:\/\/esnorquel.es\/\"],\"url\":\"https:\/\/a-desk.org\/ca\/autor\/sonia\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Turner Prize 2012: la conjectura del premi – 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\/turner-prize-2012-la-conjectura\/","og_locale":"ca_ES","og_type":"article","og_title":"Turner Prize 2012: la conjectura del premi – A*Desk","og_description":"Les exposicions lligades a un premi d’art tenen una cosa que no tenen la resta d’exposicions: la contesa silenciosa entre els seus participants davant aquesta condici\u00f3 singular, sobre la qual...","og_url":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/","og_site_name":"A*Desk","article_published_time":"2013-02-01T02:00:00+00:00","og_image":[{"width":670,"height":447,"url":"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg","type":"image\/jpeg"}],"author":"Sonia Fern\u00e1ndez Pan","twitter_card":"summary_large_image","twitter_misc":{"Escrit per":"Sonia Fern\u00e1ndez Pan","Temps estimat de lectura":"5 minuts","Written by":"Sonia Fern\u00e1ndez Pan"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/","url":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/","name":"Turner Prize 2012: la conjectura del premi – A*Desk","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg","datePublished":"2013-02-01T02:00:00+00:00","dateModified":"2013-02-01T02:00:00+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/de7a77f88e8009020ac6e8310919da27"},"breadcrumb":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#breadcrumb"},"inLanguage":"ca","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/"]}]},{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/114048066_elizabeth_341545b-2.jpg","width":670,"height":447,"caption":"Elizabeth Price"},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/ca\/magazine\/turner-prize-2012-la-conjectura\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/ca\/"},{"@type":"ListItem","position":2,"name":"Turner Prize 2012: la conjectura del premi"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"ca"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/de7a77f88e8009020ac6e8310919da27","name":"Sonia Fern\u00e1ndez Pan","image":{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/e53ec11b0dc9b9e47fbce9c40d068533","url":"https:\/\/secure.gravatar.com\/avatar\/62e498368a94a3583abdd914370941e9?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/62e498368a94a3583abdd914370941e9?s=96&d=mm&r=g","caption":"Sonia Fern\u00e1ndez Pan"},"sameAs":["http:\/\/esnorquel.es\/"],"url":"https:\/\/a-desk.org\/ca\/autor\/sonia\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/7307"}],"collection":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/users\/1273"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/comments?post=7307"}],"version-history":[{"count":0,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/7307\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media\/7296"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media?parent=7307"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/categories?post=7307"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/tags?post=7307"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/coauthors?post=7307"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}