Asco: \u00c9lite de lo oscuro: 1972-1987 <\/a>” (MUAC, M\u00e8xic), fundada en la reactivaci\u00f3 l’arxiu, ofereix una visi\u00f3 completa de la multiplicitat i complexitat de les pr\u00e0ctiques d’Asco, plataforma que va reunir diversos artistes xicanos i que es va caracteritzar per la posada en marxa d’estrat\u00e8gies performatives que re-polititzaven l’espai urb\u00e0 de la ciutat de Los Angeles.<\/em><\/p>\nAsco<\/em> (F\u00e0stic), n\u00e0usees, disgust…, o com els subjectes pol\u00edtics es re-apropien del llenguatge punyent i ofensiu per dotar-se a s\u00ed mateixos d’aquesta ag\u00e8ncia de la qual han estat desposse\u00efts. L’elecci\u00f3 del nom per part d’aquests artistes xicanos de l’Est de Los Angeles posa sobre la taula un ventall de q\u00fcestions summament complexes, que graviten al voltant de les possibilitats de (re)materialitzaci\u00f3 d’aquests cossos en un context urb\u00e0 on la disgregaci\u00f3 esdev\u00e9 geografia.<\/p>\nAsco<\/em> (f\u00e0stic) \u00e9s la n\u00e0usea que produeix l’exclusi\u00f3, la discriminaci\u00f3 corpore\u00eftzada en qu\u00e8 vivia la comunitat xicana nord-americana on es gesta el grup. Per\u00f2 Asco<\/em> no \u00e9s un grup ni un col\u00b7lectiu; \u00e9s un espai d’experimentaci\u00f3. D\u00factil, obert, permeable…, congregava aquells que, en moments determinats, s’acostaven amb les seves propostes a un nucli dur format per Pattsi Valdez, Harry Gamboa, Willie Herron i Gronk. Va ser una experi\u00e8ncia m\u00f2bil en qu\u00e8 es dilu\u00efa l’autoria individual.<\/p>\nLa visita a l’exposici\u00f3 planteja, en primer lloc, els eterns dubtes sobre la pertinen\u00e7a d’institucionalitzar un tipus de pr\u00e0ctica contracultural, que en el seu moment no nom\u00e9s va ser aliena al “mainstream” art\u00edstic nord-americ\u00e0 i als seus relats historiogr\u00e0fics, sin\u00f3 que va reaccionar contra ells de forma virulenta, com mostra l’acci\u00f3 ‘Spray Paint LACMA’ (1972). Una resposta al racisme de qu\u00e8 es vanagloriava el Los Angeles County Museum of Art<\/em>, en excloure de la seva programaci\u00f3 als xicanos, al\u00b7legant que eren incapa\u00e7os de fer alguna cosa m\u00e9s enll\u00e0 de l’art folkl\u00f2ric. Diversos integrants d\u2019Asco<\/em> van escriure els seus cognoms hispans a la fa\u00e7ana del museu, en un acte d’apropiaci\u00f3 de la instituci\u00f3, i tamb\u00e9 d’una t\u00e8cnica, el graffiti, senyal d’identitat dels \u201cpandilleros chicanos\u201d.<\/p>\nUna q\u00fcesti\u00f3 important \u00e9s que es tracta de la primera exposici\u00f3 retrospectiva d’Asco<\/em> a M\u00e8xic, on sembla que les seves pr\u00e0ctiques no s\u00f3n tan conegudes com podria suposar-se. L\u2019exhibici\u00f3 ve precisament des del Los Angeles County Museum of Art<\/em>, la qual cosa demostra una voluntat d’incloure Asco en una genealogia de l’art de Los Angeles i nord-americ\u00e0, de situar-lo com antecedent de tot un seguit de produccions actuals encreuades per discursos derivats de la postmodernitat. A la vegada, es posa en marxa una operaci\u00f3 de rescat d’unes pr\u00e0ctiques que descentren el relat de la hist\u00f2ria oficial de l’art, per tal de donar entrada al \u201cno anglosax\u00f3\u201d. Ser\u00e0 necessari esperar per poder analitzar com \u00e9s la seva recepci\u00f3 a M\u00e8xic, pa\u00eds del qual provenien les fam\u00edlies de la major part d’integrants d’Asco. La confer\u00e8ncia inaugural al MUAC, un di\u00e0leg entre Harry Gamboa i els comissaris de la mostra (Rita Gonz\u00e1lez i C. Ondine Chavoya) va ser tota en angl\u00e8s, ja que Gamboa, fill d’immigrants mexicans per\u00f2 nascut a L.A., no parla espanyol. Aquest fet \u00e9s rellevant, ja que ens confronta amb la realitat de la immigraci\u00f3 mexicana dels anys 40-50 als EUA, migraci\u00f3 massiva afavorida per l’anomenat “programa Bracero”, un acord bilateral que sorgeix de la demanda de treballadors agr\u00edcoles derivada de la Segona Guerra Mundial. Tot i que eren immigrants legals, les seves condicions laborals ratllaven l’esclavitud, i l’ostracisme social a qu\u00e8 van ser condemnats els va fer renegar d’un idioma que molts no van ensenyar als seus fills.<\/p>\nUna cr\u00edtica profunda de (i des) d\u2019aquesta condici\u00f3 xicana marca la major part de la feina d’Asco. Les seves pr\u00e0ctiques no nom\u00e9s reaccionen contra la invisibilitat sociocultural del xicano als Estats Units. La seva estrat\u00e8gia est\u00e8tica va implicar una contestaci\u00f3 a la pr\u00f2pia tradici\u00f3 de l’art xicano, centrada en un tipus de muralisme figuratiu i narratiu. En aquest context, les pr\u00e0ctiques performatives es van convertir en una eina est\u00e8tico-pol\u00edtica de primer ordre, ja que a m\u00e9s de possibilitar la visibilitat i l’apropiaci\u00f3 de l’espai p\u00fablic, a trav\u00e9s d’elles es va dur a terme una ruptura formal carregada de connotacions ideol\u00f2giques.<\/p>\n
A \u2018Instant Mural\u2019 (1974) Gronk enganxa a Patssi Valdez a la paret amb cinta a\u00efllant i la converteix en un mural de carrer, que a m\u00e9s d’ironitzar amb la tradici\u00f3 \u201cmexicanista\u201d, fixa a l’espai urb\u00e0 un cos marcat per la ra\u00e7a i el g\u00e8nere. La fotografia que documenta l’acci\u00f3 subratlla el car\u00e0cter ef\u00edmer i espontani que va caracteritzar moltes de les pr\u00e0ctiques d’Asco. L’accent se situa en l’aparici\u00f3 d’un cos que posa en perill la marcada segregaci\u00f3 racial impl\u00edcita en la geografia de L.A.<\/p>\n
Els cossos que Asco posa en escena s\u00f3n cossos privats de representaci\u00f3. Cossos invisibles en l’\u00e8poca de l’auge de la televisi\u00f3 i els mitjans de comunicaci\u00f3 de masses. Aquests cossos s\u00f3n arxius, receptacles d’una genealogia migrant viva. A trav\u00e9s del gest est\u00e8tic produeixen un efecte de distanciament que els permet situar-se en un \u201cfora\u201d, des del qual es fa possible el q\u00fcestionament cr\u00edtic d’un moment hist\u00f2ric i art\u00edstic concret. Mitjan\u00e7ant la performance, fan visible all\u00f2 que la societat nord-americana va intentar fer invisible: la seva ra\u00e7a; la seva pres\u00e8ncia; la seva discriminaci\u00f3… L’ocupaci\u00f3 de l’espai p\u00fablic per part d’aquests cossos i dels seus desitjos obre el cam\u00ed a una possible re-configuraci\u00f3 d’aquest.<\/p>\n","protected":false},"excerpt":{"rendered":"
L’exposici\u00f3 “Asco: \u00c9lite de lo oscuro: 1972-1987 ” (MUAC, M\u00e8xic), fundada en la reactivaci\u00f3 l’arxiu, ofereix una visi\u00f3 completa de la multiplicitat i complexitat de les pr\u00e0ctiques d’Asco, plataforma que…<\/p>\n","protected":false},"author":1270,"featured_media":7575,"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":"\n
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