{"id":7434,"date":"2013-03-01T02:06:00","date_gmt":"2013-03-01T02:06:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/03\/01\/gerard-byrne-masculinitat-i-temps\/"},"modified":"2013-03-01T02:06:00","modified_gmt":"2013-03-01T02:06:00","slug":"gerard-byrne-masculinitat-i-temps","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/gerard-byrne-masculinitat-i-temps\/","title":{"rendered":"Gerard Byrne: Masculinitat i temps col\u00b7lapsat"},"content":{"rendered":"

\"Homme Si ens aproximem a una de les fotografies de la s\u00e8rie “Newsstands” (2007-) de l’exposici\u00f3 de Gerard Byrne que actualment acull la Whitechapel<\/a> de Londres, podrem llegir a la cartel\u00b7la una xifra que fa refer\u00e8ncia a un temps passat. Per exemple, “Eleven days and twenty-one days ago”. Aquesta refer\u00e8ncia temporal indica que fa onze mesos i vint-i-un dies que aquesta fotografia va ser presa. El fet que el t\u00edtol de la imatge estigui supeditat al dia de la realitzaci\u00f3 de la presa fotogr\u00e0fica, revela que la noci\u00f3 de provisionalitat queda adherida, no nom\u00e9s al t\u00edtol de l’obra, sin\u00f3 al lloc on aquesta es mostra. La idea de temporalitat relativa est\u00e0 fortament vinculada a l’obra de Gerard Byrne, com tamb\u00e9 ho estan la teatralitat, la literatura o all\u00f2 mascul\u00ed, per anomenar algunes de les m\u00faltiples caracter\u00edstiques que s\u2019inclouen a l\u2019enciclop\u00e8dica obra de l’artista. <\/p>\n

Nascut a Dubl\u00edn l’any 1969, Gerard Byrne arrossega una llarga traject\u00f2ria a les seves esquenes. Els seus projectes han estat exhibits en importants museus de tot el m\u00f3n; ha representat al seu pa\u00eds a la Biennal de Ven\u00e8cia en diverses ocasions i l’any passat va mostrar una de les peces m\u00e9s aclamades de dOCUMENTA(13): “A man and a woman make love “(2012), tamb\u00e9 present en aquesta exposici\u00f3. L’obra de Byrne \u00e9s coneguda per re-visitar moments del passat i recrear-los des del present, i per aix\u00f2, utilitza com a recurs entrevistes extretes de revistes com National Geographic, Playboy o La R\u00e9volution surr\u00e9aliste. Aquestes converses es transformen en guions que reconstrueixen successos de la cultura popular mitjan\u00e7ant un particular acostament, de vegades hier\u00e0tic i intencionadament artificial. <\/p>\n

La sala que obre la mostra cont\u00e9 una instal\u00b7laci\u00f3 d’estructures modulars que ocupen gran part de l’espai. Aquestes parets funcionen com a pantalles, al mateix temps que reforcen el seu car\u00e0cter escult\u00f2ric mitjan\u00e7ant la seva contundent pres\u00e8ncia. La primera pel\u00b7l\u00edcula que es presenta \u00e9s “A man and a woman make love” (2012), una recreaci\u00f3 en format televisiu (amb p\u00fablic incl\u00f2s) d’una de les primeres converses sobre sexe i erotisme dutes a terme pel grup de surrealistes liderat per Andr\u00e9 Breton l\u2019any 1928. Les cinc pantalles que es troben a la sala mostren com els actors que representen Breton, Tanguy o Queneau, entre d\u2019altres, dialoguen amb franquesa sobre les seves fantasies i fetitxes sexuals. El fet de saber que aquesta conversa seria publicada a “La R\u00e9volution surr\u00e9aliste”, no semblava eludir la masculinitat dels seus de les seves asseveracions. <\/p>\n

En oposici\u00f3 al registre teatral, fins i tot par\u00f2dic, de l\u2019esmentada pel\u00b7l\u00edcula, “Homme \u00e0 Femmes” (2004), protagonitzada pel franc\u00e8s Michel Debrand, mostra una brillant interpretaci\u00f3 de Jean Paul Sartre. Durant aquesta conversa, el fil\u00f2sof parla sobre les seves relacions amb les dones, en particular amb la feminista Simone de Beauvoir, amb qui va mantenir una llarga hist\u00f2ria d’amor pol\u00edgama. Aquest accepta obertament que, tot i la seva lletjor, des de molt aviat les dones s’havien organitzat al seu voltant, i no vacil\u00b7la en dir que sempre l’havia sedu\u00eft la idea, tot i el masclisme inherent, d’assumir la depend\u00e8ncia d’una dona en qualsevol terme, com per exemple, el financer. <\/p>\n

La tercera i \u00faltima pel\u00b7l\u00edcula d’aquesta sala \u00e9s “A thing is a hole in a thing it is not” (2010). Aquesta v\u00eddeo-instal\u00b7laci\u00f3, a difer\u00e8ncia de les dues anteriors desenvolupa, si cap, una m\u00e9s gran complexa relaci\u00f3 amb l’espectador, mitjan\u00e7ant la configuraci\u00f3 de les edicions f\u00edlmiques a l’espai. En aquest cas les projeccions no mostren diversos punts de vista d’una mateixa reconstrucci\u00f3, sin\u00f3 que combinen diferents successos en les cinc pantalles, obligant l’espectador a estar en continu moviment per la sala. La s\u00e8rie de v\u00eddeos mostrats recull moments clau de la hist\u00f2ria de l’art dels anys seixanta, des de l’escultura perform\u00e0tica de Robert Morris “Column” (1961), fins a una entrevista radiof\u00f2nica entre Donald Judd, Dan Flavin i Frank Stella. Sens dubte, una de les lectures que es pot fer d’aquesta instal\u00b7laci\u00f3 \u00e9s la reflexi\u00f3 entorn del llenguatge f\u00edlmic i la capacitat de codificaci\u00f3 que desenvolupa l’espectador.<\/p>\n

Altres pel\u00b7l\u00edcules que es presenten a la primera retrospectiva de l’artista a la capital brit\u00e0nica s\u00f3n les extretes de converses publicades a la revista “Playboy”. Aquestes s\u00f3n, “Why it ‘s time for Imperial, again” (1998-2002), una interpretaci\u00f3 d’una xerrada entre Frank Sinatra i el responsable de Chryler; “New sexual lifestyles” (2003), un debat sobre el futur del sexe per un grup d’especialistes en pornografia i una feminista, i finalment “1984 and beyond” (2005-07), una conversa entre diversos escriptors de ci\u00e8ncia ficci\u00f3 divagant sobre com ser\u00e0 el futur. Aquesta \u00faltima projecci\u00f3 est\u00e0 acompanyada d’unes fotografies en blanc i negre que Byrne va comen\u00e7ar a realitzar com a part de la investigaci\u00f3. Lluny de poder-se considerar un projecte fotogr\u00e0fic a la manera antiga (Byrne convida a altres persones a fotografiar amb ell, deixant de banda la cl\u00e0ssica noci\u00f3 de la mirada del fot\u00f2graf com a testimoni del m\u00f3n), l’artista busca investigar quines s\u00f3n les difer\u00e8ncies entre el passat i el present.<\/p>\n

En un text publicat a October l\u2019any 1978, Thierry de Duve reflexionava sobre la difer\u00e8ncia entre la fotografia instant\u00e0nia i la de llarga exposici\u00f3, i comentava que la fotografia no nom\u00e9s enderroca les categories habituals del temps, sin\u00f3 que produeix una nova categoria espai-temporal, un il\u00b7l\u00f2gic vincle entre l’aqu\u00ed i l’abans (de Barthes), m\u00e9s proper a la instant\u00e0nia, aix\u00ed com entre l’ara i l\u2019all\u00e0, associat a la fotografia de llarga exposici\u00f3. Aix\u00f2 ve a dir que la fotografia comporta, de manera intr\u00ednseca, una paradoxa espai-temporal entre el present i el passat. <\/p>\n

En una entrevista realitzada a Byrne fa un parell d’anys i publicada a The Common Guild, parlava sobre aquesta paradoxa temporal i la descrivia com un estrany solapament del temps: “crec que \u00e9s bastant interessant adonar-se que les difer\u00e8ncies entre l\u2019ara i l\u2019abans s\u00f3n en realitat dif\u00edcils de distingir. Hi ha un estrany col\u00b7lapse de temporalitat i part del meu projecte com a artista ha estat tractar d’arribar a comprendre quina \u00e9s aquesta relaci\u00f3\u201d. Gerard Byrne no nom\u00e9s reflecteix aquesta paradoxa espai-temporal a les seves fotografies, sin\u00f3 que l\u2019extrapola al llenguatge f\u00edlmic de les seves pel\u00b7l\u00edcules, desplegant entre altres de les m\u00faltiples lectures possibles de la seva obra, un passat obert a noves consideracions.<\/p>\n","protected":false},"excerpt":{"rendered":"

Si ens aproximem a una de les fotografies de la s\u00e8rie “Newsstands” (2007-) de l’exposici\u00f3 de Gerard Byrne que actualment acull la Whitechapel de Londres, podrem llegir a la cartel\u00b7la…<\/p>\n","protected":false},"author":1266,"featured_media":7433,"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":[6470],"acf":[],"yoast_head":"\nGerard Byrne: Masculinitat i temps col\u00b7lapsat – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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