{"id":7310,"date":"2013-02-02T02:00:00","date_gmt":"2013-02-02T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/02\/02\/la-destruccio-deixada-a-mitges\/"},"modified":"2013-02-02T02:00:00","modified_gmt":"2013-02-02T02:00:00","slug":"la-destruccio-deixada-a-mitges","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/la-destruccio-deixada-a-mitges\/","title":{"rendered":"La destrucci\u00f3 deixada a mitges"},"content":{"rendered":"![\"Parker\"](\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/02\/parker.jpg\")
En l’exposici\u00f3 de Cornelia Parker a la Galeria Carles Tach\u00e9 s’hi troba una varietat d’obres de l’artista que escapen les instal\u00b7lacions de materials suspesos a trav\u00e9s de la qual se la reconeix habitualment. De tota manera, l’obra “Endless Column IV”, formada per un conjunt d’objectes de plata que han estat premsats fins que s’han convertit gaireb\u00e9 en peces bidimensionals i que l’artista col\u00b7loca suspeses del sostre a una altura d’uns pocs cent\u00edmetres del terra, \u00e9s la \u00fanica obra que pertany a aquesta manera d’expressar-se tant caracter\u00edstica de Parker i que, volgudament o no, actua com la protagonista de la mostra. L’interessant d’aquestes instal\u00b7lacions \u00e9s com de paradoxal resulta pensar-les, i \u00e9s que el proc\u00e9s que es porta a terme per a la seva producci\u00f3 \u00e9s ben poc com\u00fa: objectes platejats i brillants es fan malb\u00e9, es converteixen gaireb\u00e9 en deixalles, per portar-los despr\u00e9s a l’espai expositiu. <\/p>\n
D’acord, que les deixalles fa temps que no s\u00f3n un subjecte estrany en sales i galeries d’art -penso en Lara Favaretto a la recent d13- per\u00f2 el m\u00e8tode de Parker \u00e9s diferent, perqu\u00e8 ella agafa objectes en bon estat, els maltracta i els penja fr\u00e0gil i delicadament, composant aix\u00ed una instal\u00b7laci\u00f3 del tot preciosista. La paradoxa es troba tamb\u00e9 en aquesta dualitat de l’objecte fet malb\u00e9 i tant curosament exposat, per\u00f2 tamb\u00e9 en la dualitat que es troba en l’objecte en si mateix i la seva ombra reflectida al terra, que contradict\u00f2riament suggereix la tridimensionalitat passada de l’objecte original.<\/p>\n
Tamb\u00e9 parlem de dualitat i paradoxa en referir-nos als materials utilitzats per elaborar les peces de les s\u00e8ries “Poison and Antidote Drawing” i “Red Hot Poker Drawing”. La primera, i com el t\u00edtol indica, s\u00f3n dibuixos realitzats amb ver\u00ed i el seu ant\u00eddot; concretament \u00e9s ver\u00ed de serp cascavell barrejat amb tinta negre i l’ant\u00eddot per aquest ver\u00ed barrejat amb tinta blanca. Els dibuixos s\u00f3n totalment sim\u00e8trics i \u00e9s que per la subtil marca al mig del paper s’intueix que per a realitzar-los Parker tacava primer una meitat del suport i seguidament el doblava per a que la tinta es marqu\u00e9s tamb\u00e9 en l’altra meitat del paper. Les imatges resultants d’aquest proc\u00e9s recorden a retrats postmortem d’animals, de manera que en veure’ls col\u00b7locats tots un al costat de l’altre sembla que ens trobem davant d’un cadav\u00e8ric bestiari il\u00b7lustrat. Aquesta idea de la mort ve impl\u00edcita en la decisi\u00f3 dels materials, i \u00e9s que la suma de la tinta negre m\u00e9s el ver\u00ed de serp cascavell nom\u00e9s d\u00f3na com a resultat aix\u00f2: perill i mort. Per m\u00e9s que la tinta blanca s’hagi aplicat al damunt, juntament amb l’ant\u00eddot, el l\u00edquid blanc no aconsegueix tapar el rastre del negre.<\/p>\n
Pel qu\u00e8 fa a \u201cRed Hot Poker Drawing\u201d els materials utilitzats s\u00f3n el paper i el foc. Com passa en la s\u00e8rie mencionada anteriorment, un material te\u00f2ricament acaba amb l\u2019altre, i de la mateixa manera que a \u201cEndless Column IV\u201d l\u2019objecte principal \u00e9s maltractat. A les peces que conformen aquesta s\u00e8rie, el paper tamb\u00e9 ha estat doblat, i fent \u00fas d\u2019un ferro roent, s\u2019han cremat les bores del paper doblegat. Aix\u00ed, en desplegar-lo, s\u2019han descobert tot un conjunt de forats i marques, ferides del proc\u00e9s que l\u2019artista ha seguit. <\/p>\n
Sembla ser que la “destrucci\u00f3 deixada a mitges” \u00e9s un estat en el que resta el treball de Parker, com si el proc\u00e9s de transformaci\u00f3 i metamorfosi al que sotmet tota mena de materials i objectes no hagu\u00e9s d\u2019arribar a cap final. Potser \u00e9s per aix\u00f2 que els resultats s\u00f3n molt nets i delicats per\u00f2 denoten igualment la pista d\u2019un sentiment pervers, que prudentment es dissimula en no haver-se alliberat del tot, en no haver cremat per complet els papers de \u201cRed Hot Poker Drawing\u201d, en no haver definit les formes dels dibuixos que aparenten ser retrats de cad\u00e0vers, o en no haver fet miques els objectes platejats de \u201cEndless Column IV\u201d.<\/p>\n
Tot i aix\u00ed, el treball de Parker no admet generalitzacions i \u00e9s que en definir tots aquests aspectes sobre les obres produ\u00efdes al llarg del 2012, una s\u2019adona que no pot dir el mateix sobre les peces que es mostren al fons de la galeria i que formen part de projectes que l\u2019artista treballar\u00e0 al llarg del 2013. Peces que deixen de banda qualsevol proc\u00e9s de destrucci\u00f3 per parlar de representaci\u00f3, o si m\u00e9s no aix\u00f2 s\u2019intueix en la s\u00e8rie de fotografies de la paret d\u2019una pres\u00f3, o en l\u2019obra \u201cPavement Cracks (City of London)\u201d i que \u00e9s, b\u00e0sicament, el resultat d\u2019omplir amb cautx\u00fa el buit que separa les rajoles d\u2019un tros de vorera de Londres. Ens quedar\u00e0 per veure de quina manera es transforma l\u2019obra d\u2019aquesta artista brit\u00e0nica.<\/p>\n","protected":false},"excerpt":{"rendered":"
En l’exposici\u00f3 de Cornelia Parker a la Galeria Carles Tach\u00e9 s’hi troba una varietat d’obres de l’artista que escapen les instal\u00b7lacions de materials suspesos a trav\u00e9s de la qual se…<\/p>\n","protected":false},"author":1259,"featured_media":7308,"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
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