{"id":7401,"date":"2013-02-17T02:03:00","date_gmt":"2013-02-17T02:03:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/02\/17\/faivovich-i-goldberg-a-la-nusser\/"},"modified":"2013-02-17T02:03:00","modified_gmt":"2013-02-17T02:03:00","slug":"faivovich-i-goldberg-a-la-nusser","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/faivovich-i-goldberg-a-la-nusser\/","title":{"rendered":"Faivovich i Goldberg a la Nusser & Baumgart. ARCO 2013"},"content":{"rendered":"

\"Faivovich Seguint els passos de William Cassidy, Luisa Villar i altres exploradors i cient\u00edfics, Guillermo Faivovich (1977) i Nicol\u00e1s Goldberg (1978) van iniciar l\u2019any 2006 una guia a Campo del Cielo, un projecte centrat en el llavors poc conegut reservori de meteorits d\u2019una regi\u00f3 d’uns vuitanta quil\u00f2metres de llarg i 3 d’ample situada entre les prov\u00edncies de Chaco i Santiago del Estero, a Argentina. Producte d’un \u00fanic asteroide de ferro d’unes 800 tones, fragmentat en trossos despr\u00e9s de la seva entrada a l\u2019atmosfera, Campo del Cielo ve generant una hist\u00f2ria plena de robatoris, p\u00e8rdues i viatges intercontinentals de pedres de molt pes, en successius cap\u00edtols desplegats en exhibicions i (fins ara) dos llibres. La participaci\u00f3 de Faivovich i Goldberg a la zona de projectes especials d’ARCO 2013 <\/a> s’emmarca en el segon episodi, El Chaco, que va animar la dOCUMENTA(13) des del comen\u00e7ament, fins a convertir-se en una pe\u00e7a reiterada en el discurs curatorial de Carolyn Christov-Bakargiev, i carregar-li l’agenda amb algun viatge ofici\u00f3s a la regi\u00f3 dels tresors celestials enterrats.<\/p>\n

Cada cap\u00edtol de la saga gira entorn d’un meteorit espec\u00edfic, dels molts desenterrats, perduts o encara per descobrir a terres d\u2019El Chaco. Cada cap\u00edtol tamb\u00e9 desenvolupa una forma particular de tractar el material mete\u00f2ric com a objecte d’estudi i exhibici\u00f3. El primer volum (El Taco, publicat l\u2019any 2010), va ser un assaig sobre la reuni\u00f3 f\u00edsica en una mostra de dues parts d’un meteorit tallat per la meitat: una part de El Taco va ser exposada permanentment a l’aire lliure al Planetari de Buenos Aires, i l’altra, conservada amb molt de zel als cellers de l’Smithsonian, a Washington. Ambdues van coincidir per la mostra a Portikus, Frankfurt, tamb\u00e9 l\u2019any 2010, on es va poder donar compte dels seus diferents destins i condicions de conservaci\u00f3. El segon lliurament va comptar amb el protagonisme de El Chaco, el meteorit que no obstant aix\u00f2 no va poder abandonar la seva seu permanent a Camp del Cielo, on es troba exposat, per assumir una visibilitat contundent a la Friedrichsplatz de Kassel l’any passat. Un debat pol\u00edtic i medi\u00e0tic es va guanyar el protagonisme que l’enorme massa de ferro havia de tenir. El tercer lliurament, programat per als propers anys, se les veur\u00e0 amb Mes\u00f3n del Fierro, una pe\u00e7a fonamental en la hist\u00f2ria de Camp del Cielo, que es troba, per\u00f2, desapareguda.<\/p>\n

Aquests tres estats possibles de la mat\u00e8ria celeste en les exhibicions art\u00edstiques tanquen, eventualment, un projecte d’anys situat a la intersecci\u00f3 de subg\u00e8neres i tradicions com el land art, l’apropiacionisme i aquelles empreses (moltes vegades tan absurdes com monogr\u00e0fiques) etiquetades com artistic research. El m\u00e9s interessant \u00e9s que Faivovich i Goldberg no redunden en la visualitat de la investigaci\u00f3 cient\u00edfica, sin\u00f3 que proposen un \u00e0mbit interdisciplinari i nou com a objecte d’estudi art\u00edstic. I no promouen cap discurs universitari en la forma de projecte art\u00edstic, sin\u00f3 que es mantenen en un estat d\u2019espl\u00e8ndid silenci pel que fa a les motivacions, els objectius i les conseq\u00fc\u00e8ncies de la seva investigaci\u00f3.<\/p>\n

Fins al moment en qu\u00e8 es van posar a treballar, la bibliografia completa sobre Campo del Cielo comptava amb vuit o nou t\u00edtols, incloent-hi un article aparegut a la revista de la Royal Society l\u2019any 1788, una “Guia de meteorits de l’Argentina”, de la Revista del Museu Argent\u00ed de Ci\u00e8ncies Naturals \u00abBernardino Rivadavia\u00bb de 1969, i un llibre d\u2019Antenor \u00c1lvarez, editat per Peuser l\u2019any 1926, a Buenos Aires. M\u00e9s a prop de l’erudici\u00f3 de Borges que d’un coneixement cient\u00edfic organitzat, la literatura sobre Camp del Cielo bebia tant de la hist\u00f2ria nacional com de la geof\u00edsica i la pura curiositat. Els artistes van prendre aquest objecte poc investigat i de m\u00faltiples dimensions entre les seves urpes i van comen\u00e7ar a bombardejar-lo amb preguntes, fins a fer reviure informaci\u00f3 que es trobava perduda en dip\u00f2sits i en hist\u00f2ries oralment transmeses entre els empleats de museu. Per aquest motiu, la gram\u00e0tica d’exhibici\u00f3 triada per Faivovich i Goldberg t\u00e9 en general poc a veure amb la tradici\u00f3 del land art i s\u00ed, i molt, amb les argots documentals de la investigaci\u00f3 art\u00edstica; l’apropiacionisme; i els monuments de burocr\u00e0cia de les institucions acad\u00e8miques i culturals. La recollida de dades i l’actitud institucional del projecte, per\u00f2, es desprenen d’una utilitzaci\u00f3 intensiva de les tecnologies de la informaci\u00f3, comen\u00e7ant per les cerques en l\u00ednia i l’\u00fas generalitzat de l\u2019esc\u00e0ner com a eina apropiacionista multi-prop\u00f2sit.<\/p>\n

Aquestes caracter\u00edstiques li donen al projecte de Faivovich i Goldberg cert aire computat i desvinculat de l’espai f\u00edsic: Campo del Cielo, el lloc, es dissol en un conjunt de coordenades hist\u00f2riques i geo-espacials, sobre les quals els artistes disposen diversa informaci\u00f3 trobada i rescatada de l’extinci\u00f3.<\/p>\n","protected":false},"excerpt":{"rendered":"

Seguint els passos de William Cassidy, Luisa Villar i altres exploradors i cient\u00edfics, Guillermo Faivovich (1977) i Nicol\u00e1s Goldberg (1978) van iniciar l\u2019any 2006 una guia a Campo del Cielo,…<\/p>\n","protected":false},"author":1258,"featured_media":7383,"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":[6407],"acf":[],"yoast_head":"\nFaivovich i Goldberg a la Nusser & Baumgart. 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