{"id":7585,"date":"2013-04-05T02:00:00","date_gmt":"2013-04-05T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/04\/05\/sindrome-de-barcelona1968\/"},"modified":"2013-04-05T02:00:00","modified_gmt":"2013-04-05T02:00:00","slug":"sindrome-de-barcelona1968","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/sindrome-de-barcelona1968\/","title":{"rendered":"S\u00edndrome de Barcelona"},"content":{"rendered":"

\"RIMG0058.jpg\" > “S\u00edndrome: Context, maneres i estructura. Formes actuals de producci\u00f3n art\u00edstica a Estocolm”<\/a> es va inaugurar a La Capella el 9 de mar\u00e7. Nom\u00e9s escoltar el seu t\u00edtol vaig pensar en tres coses: la primera, que em sembla summament interessant la voluntat d’ensenyar l’estructura d’un sistema art\u00edstic en una exposici\u00f3 (cosa gens habitual en exposicions, i molt m\u00e9s en m\u00e0sters d’an\u00e0lisi d’art contemporani); la segona, per qu\u00e8 Estocolm? Poc despr\u00e9s vaig descobrir que el seu comissari, el barcelon\u00ed Mart\u00ed Manen, hi viu des de fa anys. Al meu entendre, el fet que el context sigui Estocolm no \u00e9s important. Qualsevol altre m’hagu\u00e9s semblat igual d’interessant; i la tercera, s\u00edndrome d’Estocolm? Aix\u00f2 no \u00e9s el que diuen de la gent que s’enamora dels seus segrestadors? Segons la RAE, “s\u00edndrome: 2. m. Conjunt de fen\u00f2mens que caracteritzen una situaci\u00f3 determinada. ~ d’Estocolm. 1. m. Actitud de la persona segrestada que acaba per comprendre les raons dels seus captors.” En definitiva, el que diu el subt\u00edtol de l’exposici\u00f3.
\n“S\u00edndrome” no \u00e9s una exposici\u00f3 a l’\u00fas. Trenca amb la jerarquia del temps i de l’espai. Per comen\u00e7ar, no tota l’exposici\u00f3 es desenvolupa a l’espai de La Capella. Un documental que forma part de l’exposici\u00f3, \u2018Looking for headless\u2019, es mostrar\u00e0 durant diversos dies en un centre de negocis de Barcelona. Aix\u00ed mateix, durant tota l’exposici\u00f3 estan tenint lloc trobades entre artistes suecs i diversos agents locals. Aquestes estan sent registrades i penjades a diverses p\u00e0gines web especialitzades.<\/p>\n

D’altra banda, el que s\u00ed t\u00e9 lloc a La Capella tampoc respon a una linealitat m\u00e9s enll\u00e0 de mostrar fragments del context suec. En entrar a La Capella a m\u00e0 dreta es poden veure cinc entrevistes a directores -totes s\u00f3n dones- de diferents espais culturals d’Estocolm: espais privats com la galeria Bonniers Konsthal; l’ag\u00e8ncia de subvencions estatal Iaspis; o Statenskonstr\u00e5d, el Consell Nacional d’Art P\u00fablic. Cadascuna dura de 15 a 25 minuts, de manera que en aquesta part es convida m\u00e9s a seguir el ritme d’un arxiu que el d’una exposici\u00f3. Es poden observar certes contradiccions entre el que diuen les entrevistades com a resposta a una mateixa pregunta, la qual cosa \u00e9s comprensible a causa de les diferents posicions que ocupen les seves respectives organitzacions dins el panorama. Per exemple, Catrin Lundqvist, del Moderna Museet (una barreja entre el MNAC i el MACBA), opina que hi ha molt contacte entre les institucions, sobretot en els \u00faltims 15 anys, mentre que Katarina Sj\u00f6gren, directora de l’Crystal Gallery, opina que n\u2019hi hauria d’haver molt m\u00e9s. Aquesta dissensi\u00f3 feta p\u00fablica em sembla molt positiva, ja que fa visibles les relacions de poder i permet una contestaci\u00f3.<\/p>\n

A continuaci\u00f3, trobem l’obra de cinc artistes suecs. L’exposici\u00f3 ofereix un full de sala per a cada un d’ells, que explica en un breu par\u00e0graf els seus interessos i\/o l’obra presentada. Hi ha un clar inter\u00e8s perqu\u00e8 el p\u00fablic es pugui aproximar al context. No es tracta de mostrar-lo i que cadasc\u00fa ho interpreti com pugui, sin\u00f3 d’aconseguir una proximitat i un di\u00e0leg.<\/p>\n

Dues s\u00f3n les obres que m\u00e9s em van cridar l’atenci\u00f3: la potent obra de \u00c5sa Cederqvist, “The Cabinet”, ocupa tot l’absis de l’antiga esgl\u00e9sia. Es caracteritza per explicar com all\u00f2 mat\u00e8ric ens indueix a un estat primitiu on perdem el control sobre nosaltres mateixos. Est\u00e0 acuradament composta per cinc pantalles amb un paraigua de so focalitzat en cadascuna. L’altra obra que em va cridar l’atenci\u00f3 \u00e9s oposada a l’anterior per ser molt m\u00e9s conceptual. Lina Persson ens planteja la idea treta de la ci\u00e8ncia-ficci\u00f3 de viatjar al passat de la m\u00e0 d’entrevistes al prestigi\u00f3s cient\u00edfic Ronald Mallet. L’especulaci\u00f3 present en la investigaci\u00f3 cient\u00edfica s’uneix a l’especulaci\u00f3 econ\u00f2mica de \u2018Looking for headless\u2019, aix\u00ed com a l’especulaci\u00f3 art\u00edstica que planteja l’artista Carl Palm.<\/p>\n

Se m’acut una altra exposici\u00f3 o esdeveniment en el panorama espanyol en qu\u00e8 s’hagi fet una cosa semblant: “Assemblea dels Pa\u00efsos Baixos”, la plataforma que va comissariar Latitudes a Arco 2012, on 30 representants d’institucions culturals d’Holanda van tenir una hora cada un per a mostrar el seu treball i dialogar entre ells i amb el p\u00fablic d’Arco. Per qu\u00e8 no fer alguna cosa semblant sobre el panorama espanyol o barcelon\u00ed? Quico Peinado, de la Galeria \u00c0ngels, va parlar fa uns dies de com la crisi ha unit als agents de l’art contemporani barcelon\u00ed, per\u00f2 com, tot i aix\u00ed, segueixen tots escampats. Crec que aquest \u00e9s un pensament com\u00fa entre els que el componen. Si hi haguessin iniciatives com la de “S\u00edndrome” o la “Assemblea” aplicades a l’\u00e0mbit local, s’aconseguiria una major i necess\u00e0ria transpar\u00e8ncia de les seves estructures, i els seus agents es veurien beneficiats a partir del di\u00e0leg.<\/p>\n","protected":false},"excerpt":{"rendered":"

> “S\u00edndrome: Context, maneres i estructura. Formes actuals de producci\u00f3n art\u00edstica a Estocolm” es va inaugurar a La Capella el 9 de mar\u00e7. Nom\u00e9s escoltar el seu t\u00edtol vaig pensar…<\/p>\n","protected":false},"author":1282,"featured_media":7543,"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":[],"acf":[],"yoast_head":"\nS\u00edndrome de Barcelona – 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\/sindrome-de-barcelona1968\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"S\u00edndrome de Barcelona – A*Desk\" \/>\n<meta property=\"og:description\" content=\"> “S\u00edndrome: Context, maneres i estructura. 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