{"id":7430,"date":"2013-02-27T02:00:00","date_gmt":"2013-02-27T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/02\/27\/excuse-me-i-don-t-want-to-be1855\/"},"modified":"2013-02-27T02:00:00","modified_gmt":"2013-02-27T02:00:00","slug":"excuse-me-i-don-t-want-to-be1855","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/excuse-me-i-don-t-want-to-be1855\/","title":{"rendered":"&#8220;Excuse me,\u00a0I don&#8217;t want to be alternative anymore!&#8221;"},"content":{"rendered":"<p><iframe loading=\"lazy\" width=\"640\" height=\"315\" src=\"http:\/\/www.youtube.com\/embed\/e_pHXPU72So\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>Ell va pensar el t\u00edtol, ella el va adaptar a una llarga i extenuant performance. La interpretaci\u00f3 &#8220;literal&#8221; del t\u00edtol proposat pel comissari de l&#8217;exposici\u00f3 Klaus Biesenbach per a la retrospectiva de Marina Abramovic al MoMA, sembla l&#8217;origen de la performance que l&#8217;artista va realitzar expressament per a l&#8217;ocasi\u00f3. Porta el mateix nom, i formalment consisteix en quedar-se asseguda i imm\u00f2bil durant tot el temps que va durar l&#8217;exposici\u00f3, tot l&#8217;horari d&#8217;obertura al p\u00fablic del museu. Aix\u00f2 s\u00f3n 7 hores i mitja di\u00e0ries, durant 2 mesos i mig, sense moure&#8217;s, sense menjar, sense parlar.<\/p>\n<p>Abans d&#8217;anar a veure el documental, i coneixent la performance &#8220;The artist is present&#8221; vaig pensar que una vegada m\u00e9s, assist\u00edem a l\u2019enaltiment de la figura de l&#8217;artista, el creador i transmissor d&#8217;experi\u00e8ncies sublims. Veure la pel\u00b7l\u00edcula no ha canviat aquesta idea, per\u00f2 s\u00ed que ha sumat altres reflexions interessants al voltant de la relaci\u00f3 entre art i emoci\u00f3, entre l&#8217;artista i l&#8217;audi\u00e8ncia i alhora entre aquests dos binomis.<\/p>\n<p>En certa manera la resposta de Marina Abramovic al t\u00edtol del comissari \u00e9s una provocaci\u00f3. Aquesta \u00e9s la pe\u00e7a individual m\u00e9s llarga de la seva carrera, i encara que pogu\u00e9s semblar el contrari per ser visualment menys violenta, \u00e9s de lluny la m\u00e9s f\u00edsica i emocionalment exigent. En aquest sentit, \u00e9s interessant l&#8217;acte d&#8217;anar i seure, perqu\u00e8 si l&#8217;objectiu era retre homenatge a l&#8217;obra d\u2019Abramovic, una artista que ha treballat sempre amb el seu cos, com fer-ho sense ella, sense el cos? Era l&#8217;artista qui havia de trobar la resposta, i la resposta va ser no, no es podia fer sense el cos de Marina. L&#8217;artista \u00e9s imprescindible, es fa imprescindible.<\/p>\n<p> [[&#8220;Performance becomes life, and life becomes art&#8221;.] Totes les cites s&#8217;extreuen de la p\u00e0gina oficial: http:\/\/marinafilm.com\/]<\/p>\n<p>&#8220;As long-time friend and MoMA curator Klaus Biesenbach puts it: \u201cMarina is never not performing\u201d. La Marina confon l&#8217;art i la vida, potser per aix\u00f2, d&#8217;una banda pot &#8220;viure&#8221; al museu durant tres mesos, i d&#8217;altra banda pot acceptar sense problema que la c\u00e0mera de Matthew Akers es fiqui a la seva vida. Mantenint intacta la vella intenci\u00f3 del cinema documental, Akers vol mostrar &#8216;la veritat&#8217; sobre l&#8217;artista, oblidant aix\u00ed tot el que hem apr\u00e8s sobre cr\u00edtica de la representaci\u00f3. Tamb\u00e9 oblida que est\u00e0 seguint a una performer, mentre ella, tranquil\u00b7lament, desplega entre botox, sessions de fotografia i relats biogr\u00e0fics, tot el carisma del que \u00e9s capa\u00e7, i que no \u00e9s poc.<\/p>\n<p>In a strategy meeting, she sets the stakes for what lies ahead: at 63, she has lost patience with being a fringe artist. What she wants now is for performance art to be legitimated. She is thinking of her legacy\u2013\u2013and the MoMA show, as she well knows, can secure it once and for all.<\/p>\n<p>Un toc d&#8217;esc\u00e0ndol, a la veu exaltada d&#8217;una reportera del telenot\u00edciies quan es pregunta si ser\u00e0 o no ser\u00e0 art, davant d\u2019imatges pixelades dels cossos nus que executen les performances al MoMA. La qual cosa queda &#8216;out of question&#8217;, perqu\u00e8 est\u00e0 al MoMA. Al mateix temps, passa alguna cosa que potser s\u00ed desarticula la pot\u00e8ncia caracter\u00edstica de l&#8217;obra d\u2019Abramovic: la parafern\u00e0lia de c\u00e0meres, i l&#8217;efecte \u2018fans\u2019. I \u00e9s que aquesta no \u00e9s la pregunta adequada, Abramovic \u00e9s art ara.<\/p>\n<p>El problema \u00e9s que al final, tot, des de les fotos de promoci\u00f3 fins als tres mesos de performance, passant pels nervis del muntatge i el jovial entrenament dels joves performers, tot, es converteix en un fenomen medi\u00e0tic, digne d&#8217;una diva <em>rock star<\/em>. No \u00e9s que el rock i l&#8217;art contemporani no es puguin apropar, \u00e9s que en aquest cas concret, l&#8217;acostament converteix la performance d&#8217;Abramovic en un bany de masses. Al final de la pel\u00b7l\u00edcula una reflexi\u00f3 sobre la necessitat de l&#8217;artista de recon\u00e8ixer-se en la seva audi\u00e8ncia, d\u00f3na algunes pistes sobre per qu\u00e8 o com va aguantar per pr\u00f2pia voluntat, asseguda i callada, durant m\u00e9s de 700 hores. &#8220;The audience is fuel to her -in effect, a lover; she needs the audience, Biesenbach says,&#8221;like air to breathe&#8221;&#8221;.<\/p>\n<p>Aix\u00f2 i la voluntat, un cop m\u00e9s, de superar-se a s\u00ed mateixa i de superar el que l&#8217;envolta, el que el precedeix, i el que vindr\u00e0. Aquesta performance est\u00e0 inspirada en una d\u2019anterior, &#8216;Nightsea Crossing&#8217;, de l\u2019any 1985, en la qual s&#8217;asseien cara a cara amb Ulay, fins que ja no aguantaven m\u00e9s. S\u00ed, va ser l\u2019Ulay qui va desistir primer. A &#8216;The artist is present&#8217; sola, asseguda, imm\u00f2bil, al centre del quadril\u00e0ter, assalta els seus interlocutors amb la mirada, i ells i elles, ploren&#8230; ploren&#8230; ploren&#8230; Si m\u00e9s no a la pel\u00b7l\u00edcula, tots i totes ploraven. Qu\u00e8 \u00e9s el que fa plorar a tanta gent? \u00c9s aquesta la pregunta adequada? Aquesta no \u00e9s la que es fa Akers al film.<\/p>\n<p>&#8220;Her objective is to achieve a luminous state of being and then transmit it, to engage in what she calls&#8221; an energy dialogue &#8220;with the audience.&#8221; Com deia <a href=\" http:\/\/blog. frieze.com \/ ten_notes_on_marina_abramovics_the_artist_is_present \/\">Dan Fox en un article a Frieze<\/a> a prop\u00f2sit de l&#8217;exposici\u00f3: &#8220;this is art made by someone who at some level still believes in the Sacred aura of the secular white cube article space.&#8221; Utilitza en la mateixa frase secular i sagrat.<\/p>\n<p>\u00c9s ben sabut que l&#8217;art i l&#8217;emoci\u00f3 van sovint de la m\u00e0. Dirigint-nos cap al pantan\u00f3s terreny de l&#8217;emoci\u00f3, no puc m\u00e9s que ensopegar-me amb Eloy Fern\u00e1ndez Porta i preguntar-me quin tipus d&#8217;emoci\u00f3 es construeix a la cadira del davant de la Marina. Potser \u00e9s aquesta la pregunta adequada: Quin tipus d&#8217;emoci\u00f3 construeix &#8216;the artist is present&#8217;? Perqu\u00e8 al cap i a la fi, es tracta tant d&#8217;emoci\u00f3 com de construcci\u00f3 d&#8217;aquesta emocionalitat. Per qu\u00e8 ens emocionem davant de L\u2019Artista?<\/p>\n<p>Fox acaba el seu escrit amb aquesta pregunta: &#8220;what really is the conversation about?&#8221; Jo no penso que existeixi tal conversa, o potser s\u00ed, com ella diu s&#8217;estableix un &#8220;energy dialog&#8221;, es tracta d&#8217;un discurs en el qu\u00e8 Marina Abramovic desplega totes les seves eines per complir amb l&#8217;objectiu. I no \u00e9s que l&#8217;objectiu estigui malament, als seus 63 anys, \u00e9s comprensible que se senti dignificada quan pot finalment establir l&#8217;art de la performance (el seu art), a l&#8217;altar de la instituci\u00f3. Ara que la performance ja no \u00e9s radical ni alternativa, Marina Abramovic la consagra. Ara la performance \u00e9s tot aix\u00f2, \u00e9s seure i \u00e9s la parafern\u00e0lia.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ell va pensar el t\u00edtol, ella el va adaptar a una llarga i extenuant performance. La interpretaci\u00f3 &#8220;literal&#8221; del t\u00edtol proposat pel comissari de l&#8217;exposici\u00f3 Klaus Biesenbach per a la&#8230;<\/p>\n","protected":false},"author":1271,"featured_media":0,"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":[6471],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>&quot;Excuse me,\u00a0I don&#039;t want to be alternative anymore!&quot; &#8211; 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\/excuse-me-i-don-t-want-to-be1855\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"&quot;Excuse me,\u00a0I don&#039;t want to be alternative anymore!&quot; &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"Ell va pensar el t\u00edtol, ella el va adaptar a una llarga i extenuant performance. 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