{"id":7733,"date":"2013-05-13T02:00:00","date_gmt":"2013-05-13T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/05\/13\/la-rellevancia-de-ser-mestis\/"},"modified":"2013-05-13T02:00:00","modified_gmt":"2013-05-13T02:00:00","slug":"la-rellevancia-de-ser-mestis","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/la-rellevancia-de-ser-mestis\/","title":{"rendered":"La rellev\u00e0ncia de ser mest\u00eds"},"content":{"rendered":"

\"Adriana
\n“L’expansi\u00f3 i transformaci\u00f3 de la identitat cultural mitjan\u00e7ant el colonialisme, la hist\u00f2ria del Brasil, el folklore, les tradicions espirituals i de g\u00e8nere,” com a temes d’una gasetilla de premsa; la pres\u00e8ncia del barroc llatinoameric\u00e0 com a s\u00edmptoma; les cites obligades a l’art colonial i una entrevista que comen\u00e7a amb una refer\u00e8ncia al suc de maracuj\u00e0 s\u00f3n alguns indicis per ponderar “Historias en los m\u00e1rgenes”, la primera retrospectiva d’Adriana Varej\u00e3o (1962), curada per Adriano Pedrosa, al Museo de Arte Latinoamericano de Buenos Aires <\/a>, en itiner\u00e0ncia despr\u00e9s de la seva presentaci\u00f3 inicial al Museo de Art Moderna de S\u00e3o Paulo, l’any passat. En la seva extensa presentaci\u00f3, en la citada entrevista i en els minuciosos textos escrits per a cada obra, Pedrosa abunda en refer\u00e8ncies acad\u00e8miques al post-colonialisme i les seves derives o precedents: Eustaquio Soares, Serge Gruzinski, Walter Mignolo, Borges una vegada i una altra; les rutes comercials de la modernitat; l’art eclesi\u00e0stic; la teoria del mestissatge; la teoria de la des-occidentalitzaci\u00f3; la teoria del cos en resist\u00e8ncia a l’eurocentrisme, etc.<\/p>\n

Formalment, per\u00f2, \u00e9s dif\u00edcil veure, en la portentosa retrospectiva, molt m\u00e9s enll\u00e0 d’un llenguatge d’exhibici\u00f3 estandarditzat, regulat per mecanismes que poc tenen a veure amb les rutes de la maj\u00f2lica entre la Xina i Llatinoam\u00e8rica durant l’\u00e8poca de la col\u00f2nia, i molt amb les institucions art\u00edstiques des-territorialitzades que actualment promouen i reprodueixen l’art llatinoameric\u00e0 i els seus discursos auxiliars.<\/p>\n

El treball de Varej\u00e3o i la seva traject\u00f2ria al llarg de gaireb\u00e9 tres d\u00e8cades \u00e9s exponent en si mateix de la manera en qu\u00e8 aquests mecanismes van deixar una marca sobre el cos de la seva obra i les de molts dels seus col\u00b7legues. Certa barreja de projecci\u00f3 comercial, condiment globalitzat i post-colonialisme per a tots els p\u00fablics queda en evid\u00e8ncia en pintures com la s\u00e8rie dels Pratos (2009-2012): cercles amb fruites i marisc carregats d\u2019elements japonesos i sexualitat que poden incloure, al seu torn, altres figures idiosincr\u00e0tiques, per a paladars acostumats al discurs anti-euroc\u00e8ntric.<\/p>\n

Un punt fort de l’exhibici\u00f3 \u00e9s el treball erudit per part de Pedrosa, qui juga a comentar les obres en els marges, i aconsegueix competir en atenci\u00f3 amb l’artista antologitzada. No obstant aix\u00f2, encara que es proposa enrevessada, frondosa i carregada d’inesgotables refer\u00e8ncies, “Historias en los m\u00e1rgenes” s’assembla m\u00e9s a un jard\u00ed franc\u00e8s que a l’esplendor de la selva.
\nSituaci\u00f3 que \u00e9s transitiva a bona part del treball de Varej\u00e3o, en qu\u00e8 les refer\u00e8ncies localistes es van anar polint a la calor d’un gresol art\u00edstic que en diversos passatges recorda m\u00e9s Hirst i els Chapman que a la nodrida escena brasilera dels vuitanta, de la que va participar amb quadres, en el seu moment religiosos i embogits, que li van anar deixant pas al serialisme projectual, la monocromia i (una altra vegada) el discurs sobre la col\u00f2nia.<\/p>\n

Pedrosa proposa, insistentment, una Varej\u00e3o multi-culturalista i \u00e0vida. Portuguesa i xinesa; colonitzadora i negra; sobretot, negra; esclava i universal. Per\u00f2 el resultat \u00e9s, per contra, una exhibici\u00f3 molt blanca, es miri per on es miri. Queda el dubte de si algunes paraules clau de la teoria, com el mestissatge i la digesti\u00f3 de l’estranger, definit\u00f2ries en el seu moment, no comencen a ser divises conceptuals massa barates en un mercat com el de l’art llatinoameric\u00e0 que, a jutjar per alguns avatars, sembla disposat a tot menys a digerir-se a s\u00ed mateix.<\/p>\n","protected":false},"excerpt":{"rendered":"

“L’expansi\u00f3 i transformaci\u00f3 de la identitat cultural mitjan\u00e7ant el colonialisme, la hist\u00f2ria del Brasil, el folklore, les tradicions espirituals i de g\u00e8nere,” com a temes d’una gasetilla de premsa; la…<\/p>\n","protected":false},"author":1258,"featured_media":7696,"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":"\nLa rellev\u00e0ncia de ser mest\u00eds – 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\/la-rellevancia-de-ser-mestis\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La rellev\u00e0ncia de ser mest\u00eds – A*Desk\" \/>\n<meta property=\"og:description\" content=\"“L’expansi\u00f3 i transformaci\u00f3 de la identitat cultural mitjan\u00e7ant el colonialisme, la hist\u00f2ria del Brasil, el folklore, les tradicions espirituals i de g\u00e8nere,” com a temes d’una gasetilla de premsa; 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