{"id":7711,"date":"2013-05-10T02:00:00","date_gmt":"2013-05-10T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/05\/10\/un-dia-a-les-carreres-miguel-palma\/"},"modified":"2013-05-10T02:00:00","modified_gmt":"2013-05-10T02:00:00","slug":"un-dia-a-les-carreres-miguel-palma","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/un-dia-a-les-carreres-miguel-palma\/","title":{"rendered":"Un dia a les carreres. Miguel Palma al CGAC"},"content":{"rendered":"

\"fotograf\u00c3\u00ada
\nEl Centro Galego de Arte Contempor\u00e1nea ha comen\u00e7at a celebrar el seu vint\u00e8 aniversari d’una manera discreta (sense exposicions que omplin les seves sales d\u2019\u00e0vids consumidors d’art buscant amb el seu tel\u00e8fon instant\u00e0nies per a les xarxes socials), per\u00f2 amb una interessant aposta, amb noms menys coneguts, que estan deixant bones sensacions en un centre que sembla resisteix amb prou feines la crisi. Una d’aquestes exposicions \u00e9s la de Miguel Palma<\/a>, artista portugu\u00e8s que fins el proper 26 de maig seguir\u00e0 pertorbant la visita amb els seus eixordadors dispositius electromec\u00e0nics.<\/p>\n

No obstant aix\u00f2, el treball de Miguel Palma no s’adscriu al r\u00e8tol llumin\u00f3s d’art tecnol\u00f2gic; les seves maquin\u00e0ries s\u00f3n en molts casos simples, i descobrim un major inter\u00e8s per all\u00f2 simb\u00f2lic de certs dispositius que per la recerca d’aven\u00e7os t\u00e8cnics. Palma \u00e9s m\u00e9s historiador que buscador de tresors.<\/p>\n

Ens trobem amb una exposici\u00f3 tem\u00e0tica en qu\u00e8 l’evoluci\u00f3 tecnol\u00f2gica i la manera com aquesta condiciona l’\u00e9sser hum\u00e0 estableixen punts comuns. Pot recordar, l’absurd de molts dels seus mecanismes, a algunes situacions que es donaven a “El meu oncle”, de Jacques Tati o fins i tot a “Playtime”. Es d\u00f3na una mena de burocratitzaci\u00f3 del proc\u00e9s mec\u00e0nic. Des del moment en qu\u00e8 una m\u00e0quina desenvolupa l’acci\u00f3, encara que aquest desenvolupament fregui el disbarat, queda totalment justificat, i l’\u00e9sser hum\u00e0 a la seva merc\u00e8. Cadascuna de les accions que duen a terme els seus mecanismes \u00e9s lineal, s’interromp, per\u00f2 podria prolongar-se en el temps, sense fi.<\/p>\n

Partim amb aquest flux d’aigua continuat que amaga un rerefons d’aven\u00e7 a costa de la natura – “Bypass” -, per\u00f2 no deixa de ser un cicle tancat d’aigua. Una font de basar xin\u00e8s amb un fals \u2018tot flueix\u2019. De nou \u00e9s un etern retorn. Aquest etern retorn es pot comprovar tamb\u00e9 a la s\u00e8rie de fotomuntatges “Up and down” en qu\u00e8 narra la gesta de l’arribada a la lluna com ascens i el descens des de l’estratosfera. Pujar i baixar.<\/p>\n

Recorda per moments al treball de Roman Signer; per\u00f2 aquest fixa una fi que en Miguel Palma no sol donar-se. La relaci\u00f3 amb Signer est\u00e0 m\u00e9s basada en all\u00f2 c\u00f2mic que en all\u00f2 processual. Aix\u00f2 es veu clarament a “Suspenso”, la performance amb qu\u00e8 va obrir l’exposici\u00f3. En ella, arrossegat per un motor, Palma va lliscar pel hall fins que la paret el va obligar a canviar la traject\u00f2ria. A mitja al\u00e7ada, el motor es va aturar, i susp\u00e8s d’un arn\u00e8s, va romandre impassible davant la mirada del p\u00fablic que esperava que pass\u00e9s alguna cosa. No va passar res. Podria haver estat hores all\u00e0 penjat; el missatge seria el mateix. Despr\u00e9s d’aquesta acci\u00f3 desconcertant, vam accedir a la sala principal i ens vam trobem un avi\u00f3 carregat de bombes que girava com uns cavallets sense un principi ni un final. “Suspenso” ens parla d’aquest temps detingut, per\u00f2 tamb\u00e9 d’antecedents clars. Ens parla de l’origen dels ‘happenings’; de l’arqueologia que a dia d’avui practica el museu amb aquestes accions passades. Seguim conservant els objectes implicats en l’acci\u00f3 i tot tipus de documentaci\u00f3. Aqu\u00ed, despr\u00e9s de l’acci\u00f3, queda el v\u00eddeo i l’arn\u00e8s que penja de la paret, com si es tract\u00e9s d’una obra.<\/p>\n

Un dels punts forts de Miguel Palma \u00e9s sens dubte el tractament del suport, del pedestal com a part indispensable. Des de l\u2019”azul boxes” que tria per disposar el kart de “Gravidade” fins la utilitzada en la seva “Already made” per atorgar aquesta categoria d’objecte art\u00edstic a una gran pilota d’adhesius de pneum\u00e0tic, elaborada durant tres anys i comprada als mec\u00e0nics d’un taller.
\nPalma ha ocupat tamb\u00e9 el temut Doble Espacio<\/em> amb “Plataforma”, una instal\u00b7laci\u00f3 de grans dimensions, a la monumentalitat indiscutible de la qual s’hi afegeix un detall que resulta indispensable. L’espai, que ha funcionat al llarg d’aquests vint anys com un caramel enverinat, ha deixat grans intervencions i d\u2019altres que s’han menjat l’artista literalment. Probablement una de les seves condicionants, m\u00e9s enll\u00e0 de les seves enormes proporcions, sigui l’exist\u00e8ncia d’aquesta passarel\u00b7la, que d\u2019obviar-se, pot desbancar totalment l’artista i a la seva proposta. En el cas de Miguel Palma, el simple fet d’utilitzar-la com a nexe, fixant entre ella i l’obra un cable d’alimentaci\u00f3 el\u00e8ctrica, possibilita que es generi el di\u00e0leg, atorgant a la passarel\u00b7la un paper protagonista.<\/p>\n

Interessant declaraci\u00f3 de principis. Palma no utilitza la tecnologia com a manera de generar una maquin\u00e0ria basada en la ostentaci\u00f3 t\u00e8cnica. Busca que l’espectador comprengui, com si d’un museu de ci\u00e8ncies es tract\u00e9s, la construcci\u00f3 de l’objecte. Actua com un mec\u00e0nic que ens explica la naturalesa de la decisi\u00f3 i la seva reparaci\u00f3. No \u00e9s anecd\u00f2tic, vivim actualment en un encriptament extrem del treball de l’artista. Accedim al museu i se’ns exigeix un coneixement en profunditat del que ens trobarem dins. Miguel Palma ens ofereix entrar dins l’obra, accedir al taller d’un inventor boig i descobrir les claus del treball d’un nen, que encara que ja no \u00e9s nen, segueix jugant a ser astronauta; a entretenir-se amb mecanismes absurds o observar els avions amb la mirada perduda. Amb la brillantor en els ulls de qui ho fa per una necessitat vital.<\/p>\n","protected":false},"excerpt":{"rendered":"

El Centro Galego de Arte Contempor\u00e1nea ha comen\u00e7at a celebrar el seu vint\u00e8 aniversari d’una manera discreta (sense exposicions que omplin les seves sales d\u2019\u00e0vids consumidors d’art buscant amb el…<\/p>\n","protected":false},"author":1268,"featured_media":7692,"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":"\nUn dia a les carreres. 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