{"id":7655,"date":"2013-04-22T02:09:00","date_gmt":"2013-04-22T02:09:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/04\/22\/facebookritik2023\/"},"modified":"2013-04-22T02:09:00","modified_gmt":"2013-04-22T02:09:00","slug":"facebookritik2023","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/facebookritik2023\/","title":{"rendered":"Facebookritik"},"content":{"rendered":"

\"69619_502359933153451_402396901_n.jpg\"<\/p>\n

Participar de les xarxes socials t\u00e9 l’avantatge de detectar comportaments que d’altra manera passarien desapercebuts. Resulta cert que la gratificaci\u00f3 simb\u00f2lica aqu\u00ed \u00e9s m\u00e9s gran com m\u00e9s desinhibit l’usuari es mostra. Una posici\u00f3 radical respecte a Facebook principalment cont\u00e9 dues maneres d’estar: estat ON, o estat OFF. Recentment m’ha cridat l’atenci\u00f3 l’exhibici\u00f3, per part d’un artista, de la ressenya cr\u00edtica escrita per un cr\u00edtic en una revista internacional. No \u00e9s que l’artista enllac\u00e9s el link a l’article per divulgar-lo, cosa habitual, sin\u00f3 que el que aquest donava a veure era la fotografia de la ressenya, la prova fidedigna de la seva aparici\u00f3 medi\u00e0tica. Conv\u00e9 aturar-nos un instant per calcular els efectes que es deriven per a la cr\u00edtica d’art d’aquesta actitud auto-promocional. La seq\u00fc\u00e8ncia ens \u00e9s familiar, per\u00f2 convindria repetir-la com a recordatori del funcionament editorial: el cr\u00edtic ha seleccionat; despr\u00e9s ha proposat; la seva proposta ha estat acceptada; el cr\u00edtic ha escrit, i l’escrit s’ha impr\u00e8s. Una vegada publicada, la ressenya arriba a l’artista en q\u00fcesti\u00f3, que la torna a publicar al seu “mur”, no en tant que text, sin\u00f3 com a imatge. \u00bfReificaci\u00f3? \u00bfHauria l\u2019artista publicat la “imatge” si en lloc de simpatitzar amb el cr\u00edtic, l’escrit hagu\u00e9s traslladat un judici negatiu? \u00bfSi o no?<\/p>\n

Boris Groys<\/a> comentava no fa gaire que el que acaba comptant de la cr\u00edtica no \u00e9s tant si \u00e9s una cr\u00edtica positiva o negativa de l’obra en q\u00fcesti\u00f3, sin\u00f3 el fet de si s’ha escrit o no s’ha escrit. No ja un “si\/no” o “m\u00e9s\/menys” en el judici, sin\u00f3, d’acord amb aquest, hem arribat a un punt on la primera i \u00faltima forma de judici est\u00e0 en el codi digital de l\u2019”un\/zero”. Esmentat o no esmentat. El judici principal s’estableix en la decisi\u00f3 d’escriure sobre un exposici\u00f3 o un autor, o no. El que compta s\u00f3n els “uns”, ja que qualsevol tipus de cr\u00edtica negativa queda de facto neutralitzada pel fet que \u00e9s un “un”, que s’ha escrit i publicat en l’esfera de la circulaci\u00f3 en qu\u00e8 ha esdevingut la cr\u00edtica . \u00c9s m\u00e9s, amb el declini del judici en la cr\u00edtica, tot el publicat \u00e9s un gran UN. Aquesta esfera de la circulaci\u00f3, de l’oferta i la demanda que \u00e9s la cr\u00edtica, \u00e9s una forma de mercat de la qual tots participem. No hi ha res m\u00e9s lamenti un artista o un galerista que que no s’escrigui sobre la seva exposici\u00f3, mentre que la “oficina p\u00fablica” en qu\u00e8 s’ha convertit el cr\u00edtic (segons Groys) t\u00e9 la seva millor representaci\u00f3 en les oficines de premsa de galeries privades i museus p\u00fablics, per als que el fet que es publiqui ja amortitza moltes vegades la inversi\u00f3.<\/p>\n

En l’ara famosa exposici\u00f3 de Seth Siegelaub, “January 5-31, 1969 <\/a>“, Joseph Kosuth va “doblar” la seva participaci\u00f3 amb una auto-entrevista amb el cr\u00edtic Arthur R. Rose, pseud\u00f2nim del propi Kosuth. Aquest va comprendre molt r\u00e0pidament que amb l’obra d’art redu\u00efda a informaci\u00f3, la publicitat esdev\u00e9 l’instrument que suplanta l’apreciaci\u00f3 i l’enteniment de l’art que pr\u00e8viament li era conferida a trav\u00e9s de la cr\u00edtica. L’obra d’art ja no necessita inscriure\u2019s en un objecte \u00fanic, sin\u00f3 que qualsevol mitj\u00e0 pot ser una “caixa per a les idees de la teva elecci\u00f3”, garantint una avan\u00e7ada r\u00e0pida i \u00e0mplia distribuci\u00f3. Kosuth va contribuir a definir el terme “art conceptual” alhora que era un pioner en la publicitat, o un dels iniciadors d’un model d’artista sustentat en un carrierisme<\/em> sense precedents. A trav\u00e9s de Seth Siegelaub (protocomissari, entrepreneur<\/em> i publicista), l’art conceptual aconsegueix que la cr\u00edtica i la publicitat s’unifiquin en prestar-li tanta atenci\u00f3 a la premsa, la difusi\u00f3 i a la publicitat, com al contingut mateix de les exposicions.<\/p>\n

Era q\u00fcesti\u00f3 de temps que en el futur la cr\u00edtica i la publicitat esdevinguessin indistingibles o portadors del mateix valor. Aix\u00f2 ja es donava a l’obra de Kosuth, Second Investigation, I. Existence (Art as Idea as Ideal)<\/em>, 1968, presentada en aquesta exposici\u00f3. Aqu\u00ed l’artista va comprar espai de diferents diaris i revistes d’art, on va publicar definicions del diccionari de la paraula “exist\u00e8ncia” com si fossin contractes de publicitat. Va penjar en l’exposici\u00f3 aquestes mateixes p\u00e0gines amb la seva obra a dins i a sobre de cada retallada, la manxeta del mitj\u00e0 impr\u00e8s. El missatge llan\u00e7at per Kosuth era contundent, ja que per primera vegada equiparava els llocs de representaci\u00f3 per a l’art (la secci\u00f3 de publicitat i les p\u00e0gines de ressenyes cr\u00edtiques) com espais en venda.<\/p>\n

Des d\u2019aleshores, cr\u00edtica, publicitat i instituci\u00f3 mantenen un idil\u00b7li que no ha fet sin\u00f3 reproduir-se. No resulta sorprenent que en endavant, la cr\u00edtica comenc\u00e9s a assemblar-se cada vegada m\u00e9s a les notes de premsa. La difer\u00e8ncia entre l’artista conceptual de la incipient societat de la informaci\u00f3 i l’artista contemporani \u00e9s que l’\u00faltim ha naturalitzat la publicitat sense con\u00e8ixer la “innovaci\u00f3” cr\u00edtica del primer. L’aparici\u00f3 de cr\u00edtica d’art a Facebook hauria de servir per q\u00fcestionar la funci\u00f3 i l’\u00fas de la publicitat.<\/p>\n","protected":false},"excerpt":{"rendered":"

Participar de les xarxes socials t\u00e9 l’avantatge de detectar comportaments que d’altra manera passarien desapercebuts. Resulta cert que la gratificaci\u00f3 simb\u00f2lica aqu\u00ed \u00e9s m\u00e9s gran com m\u00e9s desinhibit l’usuari es…<\/p>\n","protected":false},"author":1261,"featured_media":7627,"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":"\nFacebookritik – 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\/facebookritik2023\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Facebookritik – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Participar de les xarxes socials t\u00e9 l’avantatge de detectar comportaments que d’altra manera passarien desapercebuts. 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