{"id":76611,"date":"2026-05-12T08:00:13","date_gmt":"2026-05-12T06:00:13","guid":{"rendered":"https:\/\/a-desk.org\/?p=76611"},"modified":"2026-05-11T11:17:42","modified_gmt":"2026-05-11T09:17:42","slug":"els-backrooms-lespai-com-a-simptoma","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/els-backrooms-lespai-com-a-simptoma\/","title":{"rendered":"Els Backrooms: l\u2019espai com a s\u00edmptoma"},"content":{"rendered":"

En els darrers anys, els\u00a0<\/span>backrooms<\/span><\/i><\/a>\u00a0han deixat de ser mera ficci\u00f3 digital i s\u2019han convertit en una met\u00e0fora poderosa del malestar contemporani. Aquests espais infinits, buits i repetitius, condensen una sensaci\u00f3 \u00e0mpliament compartida:\u00a0habitar\u00a0un m\u00f3n en suspensi\u00f3. Lluny de ser un fenomen a\u00efllat, la seva est\u00e8tica connecta amb una llarga tradici\u00f3 de pensament sobre l\u2019espai i la seva influ\u00e8ncia en el comportament hum\u00e0. En aquest context, la\u00a0liminalitat\u00a0sorgeix com\u00a0a\u00a0eina clau per interpretar no nom\u00e9s aquestes imatges, sin\u00f3 tamb\u00e9 les condicions culturals que expliquen\u00a0la seva transcend\u00e8ncia.<\/span>\u00a0<\/span><\/p>\n

Els mots\u00a0liminal\u00a0o liminar es defineixen com a sin\u00f2nim de llindar,\u00a0d\u2019un espai de tr\u00e0nsit entre dos estats,\u00a0siguin f\u00edsics o\u00a0mentals. Aix\u00ed, l\u2019espai\u00a0liminal\u00a0se situa entre all\u00f2 que ja no \u00e9s i all\u00f2 que encara ha de venir. La seva naturalesa transit\u00f2ria dilueix el seu significat, potenciant alhora un car\u00e0cter\u00a0transformador.<\/span>\u00a0<\/span><\/p>\n

El concepte va sorgir en l\u2019antropologia amb la publicaci\u00f3 de\u00a0<\/span>The Rites of Passage<\/span><\/i>\u00a0(1909<\/span>), d\u2019Arnold Van\u00a0Gennep, en\u00a0qu\u00e8\u00a0l\u2019autor identifica\u00a0tres fases en els ritus de pas: separaci\u00f3, marge (liminal) i agregaci\u00f3. La primera implica deixar enrere un estat previ; la segona es caracteritza per l\u2019ambig\u00fcitat; i la tercera suposa la integraci\u00f3 en un nou estat.\u00a0Tot i que\u00a0les fases inicial i final\u00a0estan clarament regulades, la fase\u00a0liminal\u00a0actua com un llindar sense entitat fixa. En aquest sentit, el dol es pot entendre com una experi\u00e8ncia\u00a0liminal\u00a0per excel\u00b7l\u00e8ncia, en la qual el subjecte, aclaparat per la p\u00e8rdua, transita una zona d\u2019indeterminaci\u00f3 afectiva i simb\u00f2lica. Aix\u00ed doncs, la\u00a0liminalitat\u00a0implica el\u00a0q\u00fcestionament\u00a0i est\u00e0 carregada d\u2019un enorme potencial transformador.<\/span>\u00a0<\/span><\/p>\n

Posteriorment, Victor Turner amplia aquesta noci\u00f3 interpretant-la com una suspensi\u00f3 de la norma dins\u00a0de\u00a0les estructures socials. Aleshores, el concepte s\u2019est\u00e9n m\u00e9s enll\u00e0 del ritu de pas, de manera que influeix en processos culturals com ara la formaci\u00f3 d\u2019identitats, tant dels individus com de les comunitats.\u00a0All\u00f2\u00a0liminal\u00a0es configura com un espai on les jerarquies es desdibuixen i les categories perden la seva estabilitat. Aquesta suspensi\u00f3 de la norma obre pas a l\u2019emerg\u00e8ncia de maneres h\u00edbrides, o fins i tot grotesques, en qu\u00e8 el desordre no nom\u00e9s desafia el que s\u2019ha establert, sin\u00f3 que tamb\u00e9 fa possibles noves configuracions del sentit i la identitat. Pensem, per exemple, en un carnaval, on els participants disfressats deixen de banda la seva identitat per integrar-se en una comunitat an\u00e0rquica.<\/span>\u00a0<\/span><\/p>\n

Amb el temps, el concepte el van reprendre disciplines com la psicologia i l\u2019arquitectura, que el feien servir per descriure espais de transici\u00f3,\u00a0siguin f\u00edsics o\u00a0metaf\u00edsics: passatges,\u00a0intersticis, moments de canvi en qu\u00e8 un no pertany del tot ni a un estat passat ni al seg\u00fcent. Des d\u2019aquesta perspectiva\u00a0m\u00e9s \u00e0mplia, fins i tot hi ha\u00a0certs per\u00edodes\u00a0hist\u00f2rics que es podrien considerar\u00a0liminals. Com \u00e9s el cas de la pand\u00e8mia de la COVID-19, que va instaurar una experi\u00e8ncia col\u00b7lectiva de suspensi\u00f3, incertesa i\u00a0redefinici\u00f3\u00a0de les din\u00e0miques socials i va situar a les societats en un prolongat llindar entre el que ja havia estat i el que encara havia de venir (encara que, finalment,\u00a0all\u00f2\u00a0que havia de venir no fos tan diferent\u00a0d\u2019all\u00f2 anterior).<\/span>\u00a0<\/span><\/p>\n

La\u00a0liminalitat\u00a0ha inundat\u00a0l\u2019esfera cultural contempor\u00e0nia en totes les seves facetes. Obres d\u2019art, m\u00fasica, cinema i literatura s\u2019interpreten avui dia a partir de la seva relaci\u00f3 amb\u00a0la\u00a0liminalitat\u00a0com a categoria est\u00e8tica i emocional. Tanmateix, \u00e9s potser en l\u2019arquitectura on aquesta condici\u00f3 resulta m\u00e9s evident i tangible. Els espais\u00a0liminals\u00a0es\u00a0materialitzen com a llocs de pas: no s\u2019han concebut per habitar-los en el sentit estricte, sin\u00f3 m\u00e9s aviat per travessar-los. Els passadissos, els vest\u00edbuls i les estacions constitueixen espais que habitem tot just\u00a0enmig d\u2019un trajecte m\u00e9s llarg.\u00a0S\u00f3n\u00a0llocs\u00a0on\u00a0totes sentim que hem sigut en algun moment, per\u00f2 que amb prou feines resulten memorables o distingibles dels llocs que compleixen\u00a0les mateixes funcions en altres latituds.<\/span>\u00a0<\/span><\/p>\n

Abans de l\u2019\u00faltim canvi de segle van apar\u00e8ixer algunes aproximacions a l\u2019arquitectura des del pensament filos\u00f2fic de l\u2019espai.\u00a0El\u00a01992,\u00a0l\u2019antrop\u00f2leg Marc\u00a0Aug\u00e9\u00a0va encunyar el terme\u00a0<\/span>no lloc<\/span><\/i>\u00a0per referir-se a espais que les persones ocupen de manera transit\u00f2ria i la identitat dels quals est\u00e0 marcada per la seva funcionalitat. En aquests espais, l\u2019activitat humana es troba fortament condicionada per les instruccions d\u2019\u00fas,\u00a0els senyals i els protocols. En el no lloc, el subjecte esdev\u00e9 un usuari o consumidor,\u00a0sigui d\u2019autopistes, centres comercials o\u00a0aeroports.<\/span>\u00a0<\/span><\/p>\n

D\u2019altra banda, l\u2019arquitecte i fil\u00f2sof Ignasi de Sol\u00e0-Morales va introduir en 1995 el concepte de\u00a0<\/span>terrain\u00a0vague<\/span><\/i><\/a>\u00a0per definir aquells espais urbans abandonats i improductius que se situen a les perif\u00e8ries. A difer\u00e8ncia del no lloc, el\u00a0terrain\u00a0vague no est\u00e0\u00a0sobreregulat\u00a0per una funci\u00f3, sin\u00f3 que es defineix precisament per la seva indeterminaci\u00f3. Es tracten de buits dins de la l\u00f2gica\u00a0productivista, espais oberts a la possibilitat i a l\u2019apropiaci\u00f3 informal, per\u00f2 tamb\u00e9 marcats per la marginalitat i l\u2019aband\u00f3.<\/span>\u00a0<\/span><\/p>\n

Finalment,\u00a0el 2002, l\u2019arquitecte Rem\u00a0<\/span>Koolhaas\u00a0va\u00a0<\/span>publicar\u00a0<\/span>l\u2019assaig\u00a0<\/span>Junkspace<\/span><\/i>\u00a0per criticar\u00a0els abusos de la l\u00f2gica del consum<\/span>\u00a0en\u00a0l\u2019arquitectura.\u00a0<\/span>La\u00a0hiperabund\u00e0ncia, la uniformitat\u00a0i la despolititzaci\u00f3 confirmen, segons Koolhaas, el frac\u00e0s de les utopies de principis del segle XX.\u00a0El\u00a0Junkspace\u00a0no t\u00e9 l\u00edmits. No hi ha ni interior ni exterior, ni principi ni final.\u00a0\u00c9s\u00a0un flux interminable de zones connectades que mant\u00e9 controlada la poblaci\u00f3 dins del sistema. Una arquitectura infinita i claustrof\u00f2bica, plena de sostres falsos, aire condicionat, escales mec\u00e0niques i passadissos interminables.<\/span>\u00a0<\/span><\/p>\n

En conjunt,\u00a0<\/span>junkspace<\/span><\/i>, no lloc i\u00a0<\/span>terrain\u00a0vague<\/span><\/i>\u00a0constitueixen tipologies espacials paradigm\u00e0tiques de la contemporane\u00eftat. A trav\u00e9s de la seva diversitat, aquests conceptes han contribu\u00eft a donar forma\u00a0a l\u2019est\u00e8tica dels\u00a0backrooms\u00a0i a construir un marc te\u00f2ric des del qual entendre all\u00f2\u00a0liminal, revelant aix\u00ed distintes maneres en qu\u00e8 l\u2019espai contemporani es configura\u00a0com a llindar, tr\u00e0nsit o suspensi\u00f3.<\/span>\u00a0<\/span><\/p>\n

En el pr\u00f2xim article, proposar\u00e9 un recorregut a trav\u00e9s d\u2019obres i artistes que, des de diferents llenguatges i contextos, han sabut materialitzar aquesta condici\u00f3 de llindar. Si els conceptes del no lloc,\u00a0<\/span>terrain\u00a0vague<\/span><\/i>\u00a0i\u00a0<\/span>junkspace\u00a0<\/span><\/i>permeten comprendre com la contemporane\u00eftat ha produ\u00eft espais de tr\u00e0nsit i indeterminaci\u00f3, \u00e9s a la pr\u00e0ctica art\u00edstica on aquestes qualitats adquireixen una dimensi\u00f3 sensible i inquietant. En aquest despla\u00e7ament des de la teoria cap a la imatge, la\u00a0liminalitat\u00a0deixa de ser \u00fanicament una categoria anal\u00edtica i esdev\u00e9 l\u2019experi\u00e8ncia d\u2019all\u00f2\u00a0desacollidor.\u00a0<\/span><\/p>\n

 <\/p>\n

[Imatge destacada: Seraf\u00edn \u00c1lvarez, <\/span>Maze Walkthrough<\/span><\/i>, 2014 (captura de pantalla). Cortesia de l’artista]<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

En els darrers anys, els\u00a0backrooms\u00a0han deixat de ser mera ficci\u00f3 digital i s\u2019han convertit en una met\u00e0fora poderosa del malestar contemporani. Aquests espais infinits, buits i repetitius, condensen una sensaci\u00f3…<\/p>\n","protected":false},"author":2897,"featured_media":76505,"comment_status":"closed","ping_status":"closed","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":[9036],"tags":[9108,9064,9109,9101,9103,9110,9082,9105,9106,9107],"coauthors":[7005],"acf":[],"yoast_head":"\nEls Backrooms: l\u2019espai com a s\u00edmptoma<\/title>\n<meta name=\"description\" content=\"An\u00e0lisi dels espais liminars i la seva relaci\u00f3 amb els backrooms, l'arquitectura contempor\u00e0nia i conceptes com el no-lloc.\" \/>\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\/magazine\/the-backrooms-el-espacio-como-sintoma\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Els Backrooms: l\u2019espai com a s\u00edmptoma\" \/>\n<meta property=\"og:description\" content=\"An\u00e0lisi dels espais liminars i la seva relaci\u00f3 amb els backrooms, l'arquitectura contempor\u00e0nia i conceptes com el no-lloc.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/magazine\/the-backrooms-el-espacio-como-sintoma\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-12T06:00:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-05-11T09:17:42+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/05\/MW_Screenshot-15-2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"563\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rosa A. 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