{"id":7684,"date":"2013-04-30T02:00:00","date_gmt":"2013-04-30T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/04\/30\/nothing-to-declare-world-maps-of2047\/"},"modified":"2013-04-30T02:00:00","modified_gmt":"2013-04-30T02:00:00","slug":"nothing-to-declare-world-maps-of2047","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/nothing-to-declare-world-maps-of2047\/","title":{"rendered":"Nothing to declare? World maps of art since 89"},"content":{"rendered":"

\"a) Molt ha plogut des de 1981 i aquella exposici\u00f3 retrospectiva \u201cWestkunst\u201d (Art d’occident) presentada al Museen der Stadt de Col\u00f2nia, una retrospectiva de l’era moderna que va suposar una reafirmaci\u00f3 de la vella oposici\u00f3 entre el centre i la perif\u00e8ria, encara a Europa i Estats Units des de 1939 – la divisi\u00f3 entre l’Orient i l’Occident amb tot el que aix\u00f2 significava, tant pol\u00edticament com des d’un punt de vista hist\u00f2ric; econ\u00f2mic; art\u00edstic i cultural.<\/p>\n

Molt ha plogut tamb\u00e9 des del canvi geopol\u00edtic de 1989, el qual va suposar una transformaci\u00f3 en el m\u00f3n de l’art, seguit pel sorgiment explosiu de la nova era de les biennals, que van impugnar la centralitat de l’art occidental. Aquest any va jugar un paper crucial en la hist\u00f2ria de la globalitzaci\u00f3. Va ser quan l\u2019 \u201cart global\u201d va substituir el terme “art internacional” per designar una \u00e0rea de producci\u00f3 de l’art contemporani que pr\u00e8viament no havia estat representada en el discurs de l’art.<\/p>\n

Si la globalitzaci\u00f3 ha de ser entesa com un mapa mundial, aleshores, com est\u00e0 dibuixat aquest mapa? i, qu\u00e8 hauria d\u2019estar-hi dibuixat? Qu\u00e8 ha passat des de 1989, coincidint amb la fi de la Guerra Freda i de les divisions entre capitalisme i comunisme, fins ara? Com ha canviat el m\u00f3n des del moment en qu\u00e8 la globalitzaci\u00f3, des de la seva inicial condici\u00f3 dominant, ha comen\u00e7at a ser q\u00fcestionada?<\/p>\n

Com podria imaginar-se, el nou boom en la producci\u00f3 de l’art va anar acompanyat per una crisi en el concepte Occidental del mateix. De fet, l’expansi\u00f3 de la pr\u00e0ctica de l\u2019art global men\u00e0 als artistes a fer “p\u00fablics” temes culturals i religiosos de car\u00e0cter local, generant aix\u00ed una nova audi\u00e8ncia en el m\u00f3n de l’art. Aquesta nova generaci\u00f3 d’artistes, en constant interacci\u00f3 entre ells a trav\u00e9s d’aquests esdeveniments internacionals, proclamen la “contemporane\u00eftat” com una ambici\u00f3, diria una ut\u00f2pica ambici\u00f3, sense eludir en cap moment les q\u00fcestions m\u00e9s conflictives del que el te\u00f2ric brit\u00e0nic TJ Donem ha denominat fenomen de la “crisis globalisation”, una crisi que posa en entredit les promeses de democratitzaci\u00f3 i participaci\u00f3 igualit\u00e0ria de la societat i que s’enfronta al creixent flux de migrants i refugiats escapant de r\u00e8gims repressius, zones de conflicte i urgent pobresa.<\/p>\n

Nothing to Declare? – World maps of art since 89 afegeix dos nous matisos al que va ser l’exposici\u00f3 original presentada al ZKM \/ Museum of Contemporary Art de Karlsruhe el 2012.<\/p>\n

A Berl\u00edn, la proximitat, no nom\u00e9s f\u00edsica i geogr\u00e0fica, sin\u00f3 tamb\u00e9 metaf\u00f2rica amb la Porta de Brandenburg i amb el Mur de Berl\u00edn, afegeix un component, fins i tot psicol\u00f2gic i emocional, al que pot semblar teoria de laboratori. A m\u00e9s, les exig\u00e8ncies museogr\u00e0fiques del nou espai expositiu, molt menor que el de Karlsruhe, obliguen els organitzadors a redissenyar un nou gui\u00f3 i a posar \u00e8mfasi en alguns aspectes que havien quedat menysvalorats a la magna exposici\u00f3 del ZKM.<\/p>\n

Mentre el visitant se submergeix en les diferents sales de l’exposici\u00f3 i segueix un recorregut a trav\u00e9s d’abundant material documental (revistes; llibres; mapes; fotografies; v\u00eddeos i gr\u00e0fics estad\u00edstics), amb una forta did\u00e0ctica visual; panor\u00e0mica i cartogr\u00e0fica dels esdeveniments clau en aquesta evoluci\u00f3, es topa amb la instal\u00b7laci\u00f3 Oasis (2000), un conjunt de catifes tradicionals orientals que formen una “haima”, combinades i dissenyades amb c\u00f2pies digitals que representen una provocativa evid\u00e8ncia del declivi de la dominaci\u00f3 Occidental i la re-escriptura Isl\u00e0mica de la seva hist\u00f2ria. El projecte del grup AES ‘The Islamic Project’ \u00e9s una clara par\u00f2dia de la globalitzaci\u00f3 i el turisme mundial; de les t\u00edpiques imatges capitalistes d’Occident, que s\u00f3n enva\u00efdes de manera gaireb\u00e9 surrealista pels “altres” en forma de s\u00edmbols musulmans i \u00e0rabs, tals com mesquites o mercats orientals.<\/p>\n

‘The Reading Room’ introdueix als visitants la revista \u2018Third Text\u2019, fundada a Londres l\u2019any 1987 per l’artista pakistan\u00e8s Rasheed Araeen. Amb la seva revista, Araeen va crear un f\u00f2rum per a escriptors i artistes que quedaven exclosos de l’escena art\u00edstica occidental. Des d’una perspectiva cr\u00edtica, la publicaci\u00f3 tamb\u00e9 planteja q\u00fcestions sobre les ‘tasques’ del futur de l’art.<\/p>\n

\"b)<\/p>\n

And last but not least, ens trobem amb la columna vertebral d’aquesta mostra, la instal\u00b7laci\u00f3 ‘trans_actions: The Accelerated Art World 1989-2011’ (2011), un projecte desenvolupat en col\u00b7laboraci\u00f3 entre el ZKM i el grup GAM – Global Art and the Museum, equip que porta des del 2006 investigant en el tema de la mostra. La instal\u00b7laci\u00f3 visual, projectada en pantalla panor\u00e0mica a la \u00faltima sala, il\u00b7lustra l’augment del nombre de biennals d’art contemporani i la r\u00e0pida extensi\u00f3 del mercat de l\u2019art despr\u00e9s del final de la Guerra Freda. Els visitants entren en una sala de projecci\u00f3 de grans dimensions i es veuen hipnotitzats pel bany de dades animats que representen artistes; comissaris; col\u00b7lectius; biennals, i fluctuacions de mercat, tot un viatge “c\u00f2smic” per l’univers art\u00edstic.<\/p>\n

Nothing to declare? – World maps of art since 89 aspira a ser una radiografia prou fidedigna dels canvis globals a trav\u00e9s d’una difusi\u00f3 cronol\u00f2gica i geogr\u00e0fica de la producci\u00f3 de l’art global. Tanmateix, t\u00e9 algunes llacunes en la cronologia i omissions en la cita d’esdeveniments singulars en tota genealogia del global com -per posar nom\u00e9s un exemple-, l’exposici\u00f3 “How Lattitudes Become Forms. Art in a Global Age “(2005), una de les mostres que va constatar d’una manera m\u00e9s rotunda (tant des de la seva versi\u00f3 off com on-line) els notables desafiaments operats en les pr\u00e0ctiques art\u00edstiques afectades per all\u00f2 “global”. L’\u00fanic problema \u00e9s, potser, que el “punt de partida” segueix un marcat accent hegem\u00f2nic on les trobades entre diferents cultures, religions, llenguatges, aix\u00ed com entre diferents identitats nacionals i \u00e8tniques, es produeixen al cor del “mainstream”.<\/p>\n","protected":false},"excerpt":{"rendered":"

Molt ha plogut des de 1981 i aquella exposici\u00f3 retrospectiva \u201cWestkunst\u201d (Art d’occident) presentada al Museen der Stadt de Col\u00f2nia, una retrospectiva de l’era moderna que va suposar una reafirmaci\u00f3…<\/p>\n","protected":false},"author":1287,"featured_media":7652,"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":"\nNothing to declare? 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