{"id":7593,"date":"2013-04-10T02:02:00","date_gmt":"2013-04-10T02:02:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/04\/10\/vist-i-no-vist\/"},"modified":"2013-04-10T02:02:00","modified_gmt":"2013-04-10T02:02:00","slug":"vist-i-no-vist","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/vist-i-no-vist\/","title":{"rendered":"Vist i no vist"},"content":{"rendered":"

\"imgdin_spimatges_0003.jpg\" Diumenge a la nit vaig anar a casa de la meva mare a sopar. Com que a la meva fam\u00edlia \u00e9s tradici\u00f3 sopar diumenge a la nit amb una peli, em vaig posar a buscar entre les prestatgeries de vells dvd ‘s una pel\u00b7l\u00edcula per acabar el cap de setmana en pau i tranquil\u00b7litat. La candidata per aquesta nit va resultar ser “La Dolce Vita” de Fellini, ‘una pel\u00b7l\u00edcula que sempre pots tornar a veure’. I la vam tornar a veure, i vam acabar la setmana tranquil\u00b7lament.<\/p>\n

Per comen\u00e7ar una altra setmana em vaig animar a pujar fins a la Fundaci\u00f3 Mir\u00f3 per ficar-me a l’Espai 13, i vaig recordar la pel\u00b7l\u00edcula que havia vist el diumenge a la nit. No vaig poder veure l\u2019exposici\u00f3 de Julia Montilla<\/a> sense tenir molt present aquesta escena dels nens que veuen apar\u00e8ixer-se la Verge. B\u00e9, en realitat l’escena no tracta de nens i aparicions de la Mare de D\u00e9u, sin\u00f3 de la construcci\u00f3 medi\u00e0tica i el desplegament de t\u00e8cniques i t\u00e8cnics per construir aquest esdeveniment. Igualment, “El ‘cuadro’ de la ‘calleja'” de Julia Montilla no tracta exactament del fenomen de les repetides visites de la Verge al poble de Garabandal als anys ’60, sin\u00f3 de la representaci\u00f3 visual d’un fenomen, de com es representa, i de qu\u00e8 es construeix en aquesta representaci\u00f3.<\/p>\n

L’escena de “La Dolce Vita” \u00e9s una classe magistral sobre un cert tipus de periodisme; veiem multituds corrent al ‘lloc dels fets’, i despr\u00e9s veiem a testimonis ‘reals’ que expliquen els fets i els narren especialment per als periodistes, i despr\u00e9s posen per als fot\u00f2grafs. Despr\u00e9s veiem com munten les estructures per als focus i les c\u00e0meres per poder rodar a la nit, despr\u00e9s els de seguretat posen un cord\u00f3 de seguretat. Al final apareixen un nen i una nena que corren d’una banda a l’altra; assenyalen; s’agenollen; la gent plora i el director dirigeix l’orquestra.<\/p>\n

Pas u: Federico Fellini explica la construcci\u00f3 medi\u00e0tica d’un esdeveniment.<\/p>\n

Pas dos: Julia Montilla investiga les formes d’aquesta construcci\u00f3.<\/p>\n

M\u00e9s o menys.<\/p>\n

Amb les eines cl\u00e0ssiques d’un estudi d’etnografia visual, l’artista analitza mitjan\u00e7ant les imatges d’arxiu, el medi\u00e0tic fenomen de les nenes vidents que es va donar en els anys 60 en un poblet perdut de Cant\u00e0bria. Les aparicions i els seus missatgers \u00e9s un tema especialment curi\u00f3s d’analitzar, ja que les imatges no pretenen -en el cas de la proposta de la Mir\u00f3, en altres casos d’investigacions d’aquesta artista s\u00ed que ho fan-, mostrar l’aparici\u00f3 del Sant o de la Verge en q\u00fcesti\u00f3, sin\u00f3 els cossos ext\u00e0tics de les m\u00e8diums. \u00c9s a dir, no representen el nucli del fenomen -l’aparici\u00f3- sin\u00f3 el mitj\u00e0 pel qual el fenomen es transmet i representa, podr\u00edem dir que aquest fenomen \u00e9s pr\u00e0cticament irrepresentable. De la gran quantitat de fotografies produ\u00efdes i distribu\u00efdes per tot el m\u00f3n, l’artista fa una an\u00e0lisi dels cossos i els llenguatges que representen l’\u00e8xtasi, posant-los en relaci\u00f3 als textos que els acompanyaven, els peus de foto, els relats…<\/p>\n

A l’artista no li interessa la part espiritual de l’assumpte, sin\u00f3 el posar de manifest, en all\u00f2 que es mostra i en el que s’oculta, com, un cop m\u00e9s, la construcci\u00f3 d’un fenomen \u00e9s subjecte de la seva representaci\u00f3, i com aquesta representaci\u00f3 respon a un context. Julia Montilla suggereix que aquest tipus de fen\u00f2mens s’han manifestat de formes m\u00e9s exagerades coincidint amb per\u00edodes m\u00e9s progressistes de la hist\u00f2ria d’Espanya. Donant a entendre que en moments en qu\u00e8 l’Esgl\u00e9sia ha sentit amena\u00e7ada la seva influ\u00e8ncia respecte a altres poders, des de certs llocs, s’ha atiat el foc de la veneraci\u00f3 suscitant aquest tipus d’esdeveniments.<\/p>\n

Hi ha d\u2019altres exemples d\u2019aquesta forma d’an\u00e0lisi a l’art d’avui. El projecte ‘El Mundo dels vencedores’<\/a>, que Ignasi Prat va presentar a Sala d’Art Jove 2012, \u00e9s una representaci\u00f3 del poder franquista que es construeix a trav\u00e9s de les imatges de les mansions que van ocupar alguns dels militars del r\u00e8gim. Ignasi Prat reconstrueix les hist\u00f2ries fins a dia d’avui, rastrejant en documents oficials com el certificat de defunci\u00f3 (documents que tamb\u00e9 estan a la web), i localitza les mansions i la seva situaci\u00f3 avui dia; creant al seu torn un important arxiu d’imatges i documents que no deixen indiferent.<\/p>\n

Ambd\u00f3s artistes s’acosten al tema de la representaci\u00f3 i l’an\u00e0lisi d’aquestes imatges en relaci\u00f3 al context en qu\u00e8 van ser creades, assumptes ben pertinents en el m\u00f3n h\u00edper-imaginat d’avui, on l’aprenentatge en la lectura d’imatges \u00e9s b\u00e0sica per comprendre, no nom\u00e9s el que ens envolta, sin\u00f3 el com es construeix.<\/p>\n

L’Exposici\u00f3 de Julia Montilla a l’Espai 13 de la Fundaci\u00f3 Mir\u00f3 “El ‘cuadro’ de la ‘calleja'” s’emmarca en el cicle ‘Perplexitat’, comissariat per David Armengol, i es pot veure fins el 21 d’abril. Dem\u00e0 (11 d’abril) a les 19.30h es presentar\u00e0 la publicaci\u00f3 que es produeix arran d’aquest projecte.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Diumenge a la nit vaig anar a casa de la meva mare a sopar. Com que a la meva fam\u00edlia \u00e9s tradici\u00f3 sopar diumenge a la nit amb una peli,…<\/p>\n","protected":false},"author":1271,"featured_media":7541,"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":"\nVist i no vist – 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\/vist-i-no-vist\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vist i no vist – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Diumenge a la nit vaig anar a casa de la meva mare a sopar. 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