La Tach\u00e9 Gallery de Barcelona<\/a>. En principi, res especial. Una sala di\u00e0fana, arquitectura a disposici\u00f3 de teles i papers pintats, espais buits i r\u00e8mora de llum, sense desgastar la metaf\u00edsica del cub blanc. De cop, deixo de mirar de re\u00fcll i observo en la dist\u00e0ncia curta la superf\u00edcie i profunditat de camp que ofereix la pintura de Pfaff. I, clic, passa all\u00f2 que em fa escriure. El directe de la pintura \u00e9s impossible de traslladar a una altra dimensi\u00f3 perceptiva, les teles s\u00f3n el resultat d’un ambigu proc\u00e9s pict\u00f2ric ple de signes buits. Noto que llegeixo par\u00e0grafs d’un assaig sobre all\u00f2 pict\u00f2ric.<\/p>\nL’obra de Pfaff no ataca l’\u00e0nima, sin\u00f3 que carrega en el pla mental. L’eina no \u00e9s la imatge, sin\u00f3 el proc\u00e9s. L’estrat\u00e8gia no \u00e9s la t\u00e8cnica, sin\u00f3 la intel\u00b7lig\u00e8ncia. La t\u00e0ctica no \u00e9s emocional sin\u00f3 pura pintura, sense contemplacions. Aquest artista pensa m\u00e9s que pinta, escriu abans de fer-ho i mai acumula obra. Sense estil previ, el seu proc\u00e9s va i ve entre la tradici\u00f3 de la pintura i els l\u00edmits del llenguatge. El grau zero de l’escriptura de Roland Barthes, assaig cr\u00edtic motiu del t\u00edtol de l’exposici\u00f3, apuntalava una urg\u00e8ncia per legitimar el camp de fugida de la connotaci\u00f3, la genealogia m\u00e9s ambigua del llenguatge. La pintura d’aquest autor destaca precisament en la seva fusteria connotativa i sorpr\u00e8n pel rigor de l’ambig\u00fcitat. Possible grau zero de la pintura: l’acte de pintar comen\u00e7a abans de la primera pinzellada, diu l’artista.<\/p>\n
La mat\u00e8ria, el color o l’espai per a Pfaff no s\u00f3n llengua, alguna cosa comuna, sin\u00f3 escriptura que verifica la funci\u00f3 perform\u00e0tica de la lectura, la seva naturalesa m\u00e9s social. Una condici\u00f3 que s’observa en la s\u00e8rie Space, on l’artista abans de pintar plega els llen\u00e7os per tal de provocar en els relleus i les arrugues una tridimensionalitat escult\u00f2rica m\u00e9s conceptual que expressionista, sumant plans per indagar en el conflicte de la representaci\u00f3 de la mateixa pintura. En un altre cas, els papers pintats The portable Paintings porten la pintura a una expectativa de resist\u00e8ncia nova: una s\u00e8rie d’olis sobre paper de 100 x 70 cm, plegats a DIN A4 i ensobrats, esdevenint un objecte portable de f\u00e0cil emmagatzematge. La voluntat ecl\u00e8ctica de les seves peces permet gaudir des del fora de la pintura; la seva reflexi\u00f3 sobre la pintura acull lliurement la reivindicaci\u00f3 i la crisi mateixa del concepte. Dues petites escultures de l’artista serveixen per abordar la tridimensionalitat de la pintura, l’ess\u00e8ncia de la representaci\u00f3 de l’escriptura crom\u00e0tica. Pintura cr\u00edtica sense grinyolar de dents.<\/p>\n
A la cap\u00e7alera del facebook de Guillermo Pfaff hi ha dues refer\u00e8ncies del m\u00f3n de l’art: Leon Golub i Bruce Nauman. Tots dos, units a Roland Barthes, comparteixen l’inter\u00e8s i el deliri pel llenguatge, una producci\u00f3 heterog\u00e8nia i una potencialitat de lectura met\u00f2dica i alhora lleugera entre els reptes de l’ambival\u00e8ncia sem\u00e0ntica. Pfaff forma part d’aquest improbable grup de recerca art\u00edstica; els quatre manegen l’obra com a forma d’escriptura, una manera de pensar i entendre. Pura reflexi\u00f3 de l’autor sobre l’\u00fas social de la pintura, ara s\u00ed, sin\u00f2nim d’art.<\/p>\n","protected":false},"excerpt":{"rendered":"
Escric poc sobre pintura. Els excessos dels anys d’estudiant d’hist\u00f2ria de l’art m’han deixat una mica de trauma i una lleugera contracci\u00f3. Em van inculcar que la pintura \u00e9s sin\u00f2nim…<\/p>\n","protected":false},"author":1263,"featured_media":7364,"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":[6414],"acf":[],"yoast_head":"\n
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Escric poc sobre pintura. Els excessos dels anys d’estudiant d’hist\u00f2ria de l’art m’han deixat una mica de trauma i una lleugera contracci\u00f3. Em van inculcar que la pintura \u00e9s sin\u00f2nim d’art i el pinzell, meton\u00edmia de l’artista. I que l’artista pinta la model. Sobredosi de poder hegem\u00f2nic. Per\u00f2 amb el temps he apr\u00e8s a mirar de re\u00fcll, m\u00e9s enll\u00e0 de la pintura, per trobar alguna cosa m\u00e9s que nom\u00e9s pintura i poder tamb\u00e9 gaudir d\u2019all\u00f2 pict\u00f2ric. I no \u00e9s un embarbussament.<\/p>\n