{"id":7427,"date":"2013-02-23T02:06:00","date_gmt":"2013-02-23T02:06:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/02\/23\/model-un-modele-per-a-una-societat\/"},"modified":"2013-02-23T02:06:00","modified_gmt":"2013-02-23T02:06:00","slug":"model-un-modele-per-a-una-societat","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/model-un-modele-per-a-una-societat\/","title":{"rendered":"Model: un model per a una societat contemplativa"},"content":{"rendered":"

\"Model, Que les coses comparteixin un mateix nom no significa necess\u00e0riament que siguin iguals o que tendeixin -per elles mateixes i conscientment- a assemblar-se. Si les comparacions s\u00f3n odioses, segurament sigui per la nostra incapacitat d\u2019esquivar-les a l’hora de realitzar un nombre considerable d’an\u00e0lisis. Succeeix que si, per exemple, anem a una exposici\u00f3 presidida per un projecte el t\u00edtol del qual et remet inevitablement a un altre treball, la confrontaci\u00f3 est\u00e0 servida. Per tal d\u2019assimilar, interpretar i valorar el primer, la mem\u00f2ria compareixer\u00e0, des de la rereguarda, avan\u00e7ant tantes posicions com siguin necess\u00e0ries per aprofitar la utilitat del contrast.<\/p>\n

Model<\/em>, d’Antony Gormley, pot provocar aquest tipus d’exercicis iniciats per una simple -i evident- analogia onom\u00e0stica. M\u00e9s enll\u00e0 del seu t\u00edtol, comparteix aspectes (i considerables difer\u00e8ncies que podrien convertir la comparaci\u00f3 en un episodi irreverent) amb un treball de l\u2019any 1968 de Palle Nielsen al Moderna Museet d’Estocolm: El model. Un model per a una societat qualitativa<\/em>. Anem a pams.<\/p>\n

Partint d’un [enc\u00e0rrec espec\u00edfic per a una de les seus londinenques de la galeria White Cube->], Antony Gormley construeix Model<\/em> al 2012. Aquesta pe\u00e7a colossal de 100 tones d’acer patinable consisteix en augmentar l’escala i la mida de les seves cl\u00e0ssiques -i gaireb\u00e9 passades de moda- escultures antropom\u00f2rfiques en les que el mateix Gormley funciona com a mesura per a totes elles. El cos es converteix en escultura, i l’escultura es converteix en arquitectura.<\/p>\n

Model<\/em> construeix una arquitectura dins d’una sala d’exposicions. M\u00e9s o menys com la reclusi\u00f3 muse\u00edstica de l’Altar de P\u00e8rgam, per\u00f2 sense la magnitud de l’espoli i la commoci\u00f3 de la descontextualitzaci\u00f3 territorial i hist\u00f2rica. Com tot espai p\u00fablic habitable, Model es regeix per unes normes d’\u00fas que l’espectador -inquil\u00ed per una estona- subscriu per tal de poder entrar a la sala. I a l’escultura gegant. M\u00e9s enll\u00e0 de tota la ret\u00f2rica formalista entorn l’espai i el volum, el m\u00e9s interessant del projecte \u00e9s com, al cap de pocs segons, molts espectadors s’emancipen i practiquen la desobedi\u00e8ncia disciplin\u00e0ria. I \u00e9s l\u00edcit que ho facin, ja que en les declaracions a la premsa del mateix artista, Model<\/em> nom\u00e9s t\u00e9 una norma declinada com advert\u00e8ncia: “mind your head”. \u00c9s m\u00e9s, com el mateix Antony Gormley indica, el que el p\u00fablic faci all\u00e0 \u00e9s cosa seva, al\u00b7legant que el seu fill va utilitzar la pe\u00e7a per practicar una cosa tan aliena al m\u00f3n de l’art com \u00e9s el parkour.<\/p>\n

No obstant aix\u00f2, dins la sala, els suggeriments de l’artista topen amb els preceptes de la galeria. A Model<\/em> no s\u2019hi pot utilitzar el tel\u00e8fon; no es pot escalar exterior o interiorment el gegant met\u00e0l\u00b7lic; no es pot deixar als nens explorar l’espai sense anar agafats de la m\u00e0 d’un adult; no es pot accedir si es pateix por a la foscor o f\u00f2bia als espais tancats. I tampoc es pot haver consumit alcohol abans d’entrar. Tanmateix, en menys de cinc minuts, el p\u00fablic ignora vehementment totes les normes.<\/p>\n

\u00c9s en aquets moment, en veure els nens corrent per dins i per fora del col\u00f3s d’acer, quan una pensa amb m\u00e9s insist\u00e8ncia en aquell model de Palle Nielsen. Per\u00f2 Nielsen, a difer\u00e8ncia de Gormley, era un anarcosindicalista dan\u00e8s que va acabar abandonant la inger\u00e8ncia art\u00edstica a causa de les contradiccions entre art i activisme. El model<\/em>, un enorme playground<\/em> dins del museu per a menors de 18 anys que va ser utilitzat per 35.000 persones, proposava d’una banda un espai l\u00fadic sense normes en qu\u00e8 els nens no juguessin a ser adults, i de l’altra, un canvi social que vingu\u00e9s des de la inf\u00e0ncia. Els efectes col\u00b7laterals van ser l’origen de la cr\u00edtica institucional i la incorporaci\u00f3 de l’activisme al cub blanc.<\/p>\n

Aquesta desregulaci\u00f3 de l’espai expositiu seria impensable avui en dia. Per\u00f2 no tant pel que fa a la transgressi\u00f3 de la norma, sin\u00f3 m\u00e9s aviat per la col\u00b7lectivitzaci\u00f3 d’un projecte que dissol l’autoritat de l’autor. Model<\/em>, de Gormley, tot i continus rampells espontanis, no es deixa apropiar perqu\u00e8 postula un comportament general de culte a l’artista, on el joc que demana no deixa de ser una experi\u00e8ncia contemplativa individual.<\/p>\n","protected":false},"excerpt":{"rendered":"

Que les coses comparteixin un mateix nom no significa necess\u00e0riament que siguin iguals o que tendeixin -per elles mateixes i conscientment- a assemblar-se. Si les comparacions s\u00f3n odioses, segurament sigui…<\/p>\n","protected":false},"author":1273,"featured_media":7406,"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":[6453],"acf":[],"yoast_head":"\nModel: un model per a una societat contemplativa – 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\/model-un-modele-per-a-una-societat\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Model: un model per a una societat contemplativa – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Que les coses comparteixin un mateix nom no significa necess\u00e0riament que siguin iguals o que tendeixin -per elles mateixes i conscientment- a assemblar-se. 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