Cas d’estudi<\/a>, una exposici\u00f3 on al proc\u00e9s de l’artista s’hi unia el proc\u00e9s de construcci\u00f3 expositiva, a trav\u00e9s del \u201csumari-i-seguir\u201d d’unes parts, on la independ\u00e8ncia juxtaposada de seus respectius focus de recerca, es dilu\u00efa conscientment en un text general: el d’un intent de relectura de la modernitat, en qu\u00e8 l’inter\u00e8s per l’arquitectura de tots els projectes funcionava com a coartada per arribar a d\u2019altres indrets, \u00f2rfena d’aquesta nost\u00e0lgia cap un passat millor, que mai va ser millor.<\/p>\nEn una exposici\u00f3 on cadascuna de les obres exposades tenen un annex presencial en el qu\u00e8 l’artista revela la metodologia d’un treball definit per la temporalitat del proc\u00e9s d’investigaci\u00f3, poden passar diverses coses: Que la seva intervenci\u00f3 es converteixi en una visita guiada per la pe\u00e7a des d’un auditori improvisat; o b\u00e9 que, com en el cas d’Eva F\u00e0bregas, l’explicaci\u00f3 deixi de banda all\u00f2 prosaic del comentari expressament, per convertir-se en un relat oral, en qu\u00e8 tots els moments i documents del proc\u00e9s art\u00edstic encaixen tan b\u00e9, que sorgeix la (benvinguda) sospita que la presumpta objectivitat que escorta tota investigaci\u00f3, hagi estat filtrada pels par\u00e0metres d’una ficci\u00f3 a mitges. I de que la narrativa \u00e9s un territori on all\u00f2 expl\u00edcit no funciona com ant\u00f2nim de l’est\u00e8tic, en contra del la inintel\u00b7ligibilitat feta fetitxe que practica de vegades l’art.<\/p>\n
Sunila comen\u00e7a en un mercat finland\u00e8s (de vegades un es pregunta qu\u00e8 seria de l’art contemporani sense les botigues de segona m\u00e0), quan Eva F\u00e1bregas troba ‘Space Time Architecture de Gideion’. \u00c9s en aquest llibre on s’esmenta Sunila, una col\u00f2nia industrial lligada a una f\u00e0brica de cel\u00b7lulosa i dissenyada per Alvar Aalto. El desconeixement general al voltant del projecte d’un dels arquitectes moderns m\u00e9s c\u00e8lebres, provoca, com \u00e9s d’intuir, la reparable curiositat per saber quin \u00e9s el seu estat en el present. L’actual degradaci\u00f3 de Sunila, unida al descobriment de diverses caravanes a la zona, com si d’unitats d’habitaci\u00f3 port\u00e0tils es tractessin, desemboca en una “breu hist\u00f2ria sobre l’arquitectura port\u00e0til”, en qu\u00e8 Eva F\u00e0bregas combina, per vinculaci\u00f3 subjectiva, la privatitzaci\u00f3 d’espais amb vocaci\u00f3 col\u00b7lectiva; el desenc\u00eds del paradigma social modern; la mobilitat dom\u00e8stica; l’estandarditzaci\u00f3 d’un paisatge on all\u00f2 n\u00f2mada s’ent\u00e9n com un sedentarisme provisional; l’escultura moderna; la trans-nacionalitat de les subcultures musicals; la inexpugnable \u201ccontaineritzaci\u00f3<\/em>\u201d com a causa i conseq\u00fc\u00e8ncia de la globalitzaci\u00f3; el miratge del DIY made in Ikea<\/em>; la paradoxal traducci\u00f3 de les manufactures per l’artesania i la precarietat d’unes vides, volunt\u00e0ria o involunt\u00e0riament transportables: les nostres.<\/p>\nDeixar un text sobre Sunila aqu\u00ed incorreria en un greu delicte: oblidar-se de la pe\u00e7a art\u00edstica. I \u00e9s que, malgrat l\u2019admiraci\u00f3 per la disposici\u00f3 dels elements dins d’un relat, gr\u00e0cies a la l\u00f2gica perspica\u00e7 de la seva autora, Sunila \u00e9s -a m\u00e9s a m\u00e9s i abans que res- una pe\u00e7a art\u00edstica en sala, que es compon d’una projecci\u00f3 f\u00edlmica on es comparen dos tipus d’arquitectura: la sedent\u00e0ria i la port\u00e0til -ambdues una demostraci\u00f3 d\u2019all\u00f2 finit- des de l’est\u00e8tica del purament visual; un recull de postals amb paisatges similars, protagonitzats per campaments de caravanes; i dos quadres fets amb tapisseria de caravana. Tot i aix\u00f2, la for\u00e7a del relat fa, per a qui el coneix, impossible veure-la ja com la culminaci\u00f3 d’un proc\u00e9s d’investigaci\u00f3. I \u00e9s que, si \u00e9s cert que una imatge val mil paraules, ho \u00e9s nom\u00e9s per la pot\u00e8ncia del relat que cont\u00e9.<\/p>\n","protected":false},"excerpt":{"rendered":"
S\u00f3n molts els rols que un mateix artista pot adoptar. Almenys potencialment. Dins d’un \u00e0mbit d’acci\u00f3 en qu\u00e8 un dels seus privilegis \u00e9s el desdoblament d’actuaci\u00f3 i la conquesta circumstancial…<\/p>\n","protected":false},"author":1273,"featured_media":7596,"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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S\u00f3n molts els rols que un mateix artista pot adoptar. Almenys potencialment. Dins d’un \u00e0mbit d’acci\u00f3 en qu\u00e8 un dels seus privilegis \u00e9s el desdoblament d’actuaci\u00f3 i la conquesta circumstancial o permanent d’una posici\u00f3 concreta, l’artista com a investigador \u00e9s una de les combinacions m\u00e9s aplaudides en l’actualitat. Podria al\u00b7legar-se que, en el fons, la investigaci\u00f3 \u00e9s un proc\u00e9s inherent a l’art, demostrant aquesta demarcaci\u00f3 contempor\u00e0nia com un exemple m\u00e9s d’evid\u00e8ncia sobreentesa. No obstant aix\u00f2, l’investigador que invoca (o evoca, des d’aquesta espontane\u00eftat clarivident amb la qual es relacionen els par\u00f2nims) l’art, m\u00e9s que un investigador a l’\u00fas, tancat dins la jerarquia epistemol\u00f2gica de les biblioteques, \u00e9s un detectiu que converteix l’an\u00e8cdota en un cas d’estudi. El tipus de detectiu que explora a trav\u00e9s de la pr\u00e0ctica art\u00edstica, t\u00e9 tamb\u00e9 les seves particularitats. D’una banda, intercanvia l’objectivitat lineal dels fets per la subjectivitat obliqua de la seva percepci\u00f3 de les coses; de l’altra, \u00e9s capa\u00e7 de convertir-se en narrador omniscient d’aquell relat en qu\u00e8 participa com a protagonista secundari.<\/p>\n