Gaiety is the most outstanding feature of the Soviet Union: New article from Russia<\/a>“. El patrocinador de l’\u00faltim projecte de Charles Saatchi \u00e9s la fam\u00edlia Tsukanov, a trav\u00e9s de la Tsukanov Family Foundation (hi ha qui acusa el seu representant legal, Igor Tsukanov, tamb\u00e9 fundador de Business Centre Investment Group, grup inversor interessat en “els sectors m\u00e9s estrat\u00e8gics” de R\u00fassia, -energia i petroli-, de pert\u00e0nyer a la m\u00e0fia russa). Ambdues exposicions se sumen a l’atenci\u00f3 que ha despertat l’art rus -i els diners russos- en els \u00faltims anys. L’\u00faltim assalt d’aquests a les subhastes de Christie’s i Sotheby’s van arribar cotes de 37 milions de lliures. Aix\u00ed que Saatchi no podia ser menys. I per si de cas, \u00e9s m\u00e9s. El que m\u00e9s material ha reunit.<\/p>\n\u00c9s impossible obviar els or\u00edgens de Saatchi. El seu bressol \u00e9s la publicitat, una professi\u00f3 que es val de diversos mitjans per divulgar un anunci de car\u00e0cter comercial amb l’objectiu d’atreure possibles espectadors, compradors. Fins i tot la directora de la Saatchi Gallery sembla no haver-ho oblidat. “Els oligarques russos estan gastant molts diners en els grans noms de l’art occidental, per\u00f2 no estan comprant obres russes”, va explicar Rebecca Wilson al Telegraph arran de la doble exposici\u00f3, encara que despr\u00e9s va voler esborrar qualsevol ombra comercial amb un “no hi ha moltes galeries a Moscou on aquests artistes podrien exposar”. La doble proposta de l’antic palau del duc de York, a m\u00e9s, confirma el segell Charles Saatchi, la seva aproximaci\u00f3 a l’art mitjan\u00e7ant l’\u00fas dels grans formats i l’impacte com a eines de seducci\u00f3. L’espai de la Sloane Square l’afavoreix: 14 sales, blanques i austeres, whitecube, llum zenital clara i terra de fusta natural, accentuen les obres, fent-les m\u00e9s desitjables i fins i tot valorades.<\/p>\n
No obstant aix\u00f2, i encara que els t\u00edtols escollits tinguin molt d’esl\u00f2gan, \u201cBreaking the ice\u201d est\u00e0 lluny encara de \u201cLabour isn’t working\u201d, aquella enginyosa frase que va inventar Saatchi & Saatchi per al Partit Conservador a les eleccions de 1979. Ni tan sols \u201cGaiety is the most outstanding feature of the Soviet Union\u201d, un joc de paraules a partir del que va dir Joseph Stalin l\u2019any 1935 (“L’alegria \u00e9s la caracter\u00edstica m\u00e9s sorprenent de la Uni\u00f3 Sovi\u00e8tica\u201d) t\u00e9 aquell ganxo. I \u00e9s que sembla que al super-col\u00b7leccionista, l’home-anunci, se li est\u00e0 acabant la manxa. Potser \u00e9s perqu\u00e8 el m\u00e0rqueting \u00e9s mort, com diu l’actual CEO de Saatchi & Saatchi Kevin Roberts, per\u00f2 sembla que el seu \u00faltim llibre, el recentment publicat \u2018Babble\u2019, no ha suscitat la curiositat dels anteriors. Potser falta marge -va sortir el 5 de mar\u00e7-, per\u00f2 no \u00e9s f\u00e0cil trobar ressenyes sobre aquest llibre a Google. Sobre \u2018My name is Saatchi and I am an artoholic\u2019, n\u2019hi ha m\u00e9s de 8.000, i 190.000 de \u2018Be the worst you can be\u2019, obra de la qual s’han venut m\u00e9s de 20.000 c\u00f2pies, segons The Guardian Book Shop. Per\u00f2 Amazon Espanya encara t’ofereix l’oportunitat de ser el primer a comentar \u201cBabble\u201d. Potser per aix\u00f2, perqu\u00e8 Saatchi ja no \u00e9s tan sensacional com ho era amb \u201cSensations\u201d; perqu\u00e8 els YBA estan passats de moda o s\u00f3n membres de la Royal Academy; o b\u00e9 perqu\u00e8 de vegades em fa mandra buscar-hi la teoria de la conspiraci\u00f3 a tot, he decidit mirar amb menys reserves. Com la periodista Laura Cumming, de \u2018The Observer\u2019, que va decidir a l’article sobre les exposicions atorgar “tot el cr\u00e8dit a Saatchi per mostrar tota aquesta obra al p\u00fablic brit\u00e0nic, i fer cr\u00e9ixer -inevitablement- el seu perfil en el mercat”. Al cap i a la fi, \u00e9s la primera vegada que es duu a terme una exposici\u00f3 tan extensa d’art rus. I \u00e9s que, en Saatchi es pot trobar certa voluntat de democratitzaci\u00f3 i desmitificaci\u00f3. Per qu\u00e8 aquestes obres i no d\u2019altres? I per qu\u00e8 no? Tot comissari selecciona. A Saatchi se li atribueix -o atribu\u00efa-, a m\u00e9s, el poder de llan\u00e7ar carreres. Per\u00f2 tamb\u00e9 ho pret\u00e9n Robin Klassnik, director de la Matt\u2019s Gallery, “una galeria no comercial”, com ell mateix sol puntualitzar. <\/p>\n
El tanc ple de petroli de la planta baixa de la Saatchi Gallery, l’obra 20:50 de Richard Wilson, la va produir Matt\u2019s Gallery l\u2019any 1987. (Gr\u00e0cies, Antonio, per la dada). Si \u00e9s que, si es comencen a buscar connexions, es troben.<\/p>\n","protected":false},"excerpt":{"rendered":"
– Per qu\u00e8 exposar a artistes russos; aquests artistes russos; i per qu\u00e8 ara? Qu\u00e8 passava a R\u00fassia entre els seixanta i els vuitanta? \u00c9s que, quan les coses em…<\/p>\n","protected":false},"author":1286,"featured_media":7577,"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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