{"id":77339,"date":"2026-06-08T07:33:25","date_gmt":"2026-06-08T05:33:25","guid":{"rendered":"https:\/\/a-desk.org\/?p=77339"},"modified":"2026-06-04T19:17:30","modified_gmt":"2026-06-04T17:17:30","slug":"the-mutable-object","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/the-mutable-object\/","title":{"rendered":"L\u2019OBJECTE MUTABLE"},"content":{"rendered":"

Els objectes mai no s\u00f3n estables. Encara que la modernitat intenti fixar-los en un lloc, en un marc o en una quadr\u00edcula, continuen comportant-se de manera imprevisible. En un moment en qu\u00e8 la vida dels objectes est\u00e0 sotmesa a una pressi\u00f3 cada vegada m\u00e9s gran, amb l\u2019augment de les demandes de restituci\u00f3 i la iconocl\u00e0stia pol\u00edtica, els artistes presents en les tres biennals que ens ocupen ens criden l\u2019atenci\u00f3 sobre la incesant mutabilitat de les coses. Aquest assaig examina com els artistes han respost a tot tipus d\u2019elements, des de fragments de patrimoni cultural fins a objectes quotidians, cristalls esot\u00e8rics i icones devocionals.<\/p>\n

Dist\u00f2pica, inquietant i ind\u00f2mita, Hallucinations of an Artifact<\/em> (Al\u00b7lucinacions d\u2019un artefacte) de Mandeep Raikhy \u00e9s una de les peces centrals d\u2019aquesta edici\u00f3 de la Biennal de Kochi, i es basa en les d\u00e8cades d\u2019experi\u00e8ncia de Raikhy cultivant una intel\u00b7lig\u00e8ncia encarnada. Partint del seu treball sobre el tribhanga<\/em> (la postura de la triple curvatura), Raikhy, juntament amb les seves col\u00b7laboradores Akanksha Kumari i Manju Sharma, baixa del seu pedestal la figureta despla\u00e7ada de la vall de l\u2019Indus per portar-la a l\u2019escenari. A trav\u00e9s de moviments reverberants, el trio especula sobre les hist\u00f2ries de la coneguda Dancing Girl<\/em> (Noia que dansa), la figura de bronze trobada a Mohenjo Daro, a l\u2019actual Pakistan, en les excavacions de 1926 i actualment conservada al Museu Nacional de Nova Delhi.<\/p>\n

Com la mutabilitat de la Dancing Girl<\/em>, sobre la qual Gupta ja ha secret anteriorment<\/span><\/a>, les performances canvien amb el seu context. Raikhy ha presentat Hallucinations<\/em> en diferents llocs de l\u2019\u00cdndia i Europa, ja que \u00e9s una pe\u00e7a en desenvolupament des del 2019. Per\u00f2 la seva exhibici\u00f3 a Kochi, dins d\u2019una biennal comissariada per l\u2019artista performatiu Nikhil Chopra (n. 1974, Calcuta), n\u2019emfatitza el car\u00e0cter provisional. La pr\u00f2pia mutabilitat de la Dancing Girl<\/em> que Raikhy posa en relleu desf\u00e0 la dicotomia entre forma i proc\u00e9s. La noia dansaire travessa \u00e8poques hist\u00f2riques, balla al club, resisteix la contaminaci\u00f3 asfixiant de Delhi, viu, mor i torna a n\u00e9ixer. La forma est\u00e0 sempre en proc\u00e9s i dep\u00e8n de la seva posada en escena.<\/p>\n

\"The

Cinthia Marcelle, History<\/em>, Kochi Biennale 2025\u20136, Mattancherry. Foto: Vivek Gupta i Denis Maksimov<\/p><\/div>\n

Travessant el carrer des de l\u2019espai on es presenta Hallucinations<\/em>, trobem un di\u00e0leg especialment s\u00f2lid sobre la mutabilitat dels objectes en l\u2019obra History<\/em> de Cinthia Marcelle (n. 1974, Belo Horizonte). Els elements de la instal\u00b7laci\u00f3 d\u2019aparador de Marcelle no eren artefactes muse\u00edstics altament polititzats com la Dancing Girl<\/em> o els bronzes de Ben\u00edn presents en la contribuci\u00f3 de Pio Abad a aquesta edici\u00f3 de la Biennal de Ven\u00e8cia, comentada la setmana passada<\/a>. Eren objectes quotidians que els visitants portaven a la House of Repair<\/em> de Marcelle perqu\u00e8 es poguessin tornar a utilitzar. Marcelle<\/a><\/span> tamb\u00e9 establia una relaci\u00f3 entre la persona que reparava l\u2019objecte i el seu propietari en recon\u00e8ixer el nom del treballador. Tot aix\u00f2 constitueix una posada en escena de vincles socials que s\u2019oposen a la l\u00f2gica capitalista. Un objecte no necessita estar sota els focus de l\u2019atenci\u00f3 p\u00fablica per mer\u00e8ixer conservaci\u00f3 i la cura d\u2019una comunitat.<\/p>\n

\"The

Manju Sharma a Hallucinations of an Artifact<\/em> de Mandeep Raikhy, Kochi Biennale 2025\u20136. Fotografia cortesia de la Kochi Biennale Foundation<\/p><\/div>\n

Tornant breument a Hallucinations<\/em>, la imatge de la ballarina Manju Sharma mirant fixament una espectadora, Marina Abramovi\u0107 (n. 1946, Belgrad), assenyala com opera actualment la mirada en l\u2019art de la performance i la necessitat urgent de mantenir l\u2019ecosistema de la Biennal de Kochi. Tot i que cal recon\u00e8ixer a Chopra el m\u00e8rit de presentar la pr\u00e0ctica d\u2019Abramovi\u0107 a Kochi, especialment amb la impactant exposici\u00f3 de Waterfall<\/em> (2002\u201303), la mirada d\u2019una generaci\u00f3 nova d\u2019artistes cap a la matriarca de la performance resulta alhora cr\u00edtica i, en certa manera, gratu\u00efta. L\u2019exposici\u00f3 m\u00e9s recent d\u2019Abramovi\u0107, Transforming Energy<\/em>, a la Gallerie dell\u2019Accademia de Ven\u00e8cia, inaugurada en paral\u00b7lel a la biennal aquest any, exemplifica com una praxi vital pot transformar-se en una mena d\u2019entreteniment esot\u00e8ric. La mostra es basa en una obsessi\u00f3 pels cristalls, inc\u00f2modament juxtaposada amb la seva obra fonamental Balkan Baroque<\/em>(1997). A difer\u00e8ncia de Waterfall<\/em>, on Abramovi\u0107<\/a><\/span>\u00a0recorria al cant col\u00b7lectiu de monjos tibetans, Transforming Energy<\/em> ha creat estacions d\u2019entreteniment concebudes per a un consum individual i, sens dubte, tamb\u00e9 mercantil. Per ser clars, no tenim res en contra dels cristalls ni del mercat, per\u00f2 quines s\u00f3n les pol\u00edtiques d\u2019aquesta obra? Resulta massa superficial per ser convincent. En comparaci\u00f3, la mirada de Sharma i el seu esfor\u00e7 per permetre que la Dancing Girl<\/em> sobrevisqui diuen molt m\u00e9s.<\/p>\n

\"The

Crist de tres cares, segle XVIII, instal\u00b7lada a MOMus, Tessal\u00f2nica, pr\u00e9stec de la Col\u00b7lecci\u00f3 Loverdos (L 434\/CL 429), Museu Bizant\u00ed i Cristi\u00e0 d\u2019Atenes. Foto: Denis Maksimov<\/p><\/div>\n

\"The

Nanos Valaoritis, Mitologia grega<\/em>, 1963\u201374. Foto: Denis Maksimov<\/p><\/div>\n

Igual que la tr\u00edada relacional d\u2019int\u00e8rprets que Raikhy desplega a Hallucinations<\/em>, els trios apareixen de manera recurrent a la Biennal de Tessal\u00f2nica per cridar l\u2019atenci\u00f3 sobre la inestabilitat dels objectes. Sempre hi ha un tercer que pres\u00e8ncia la tensi\u00f3 entre els altres dos. Presentada al MOMus de Tessal\u00f2nica, la biennal juxtaposa una icona ortodoxa del segle XVIII, el Crist de tres rostres<\/em>, cedida pel Museu Bizant\u00ed i Cristi\u00e0 d\u2019Atenes, amb obres de surrealistes com el poeta i cr\u00edtic grecoameric\u00e0 Nicolas Calas (1907\u20131988), aix\u00ed com una trinitat de la cultura afrocubana present a L\u2019Ombre<\/em> (1953) de Wilfredo Lam (1902\u20131982). A Confound the Wise<\/em> (Desconcertar els savis) de 1942, Calas escriu: \u00abDurant diversos anys m\u2019ha perseguit una Sant\u00edssima Trinitat del Museu Loverdos d\u2019Atenes. Es tracta d\u2019una figura de tres rostres amb quatre ulls, tres nassos i tres boques. Encara que la mirada caigui sobre qualsevol part de la imatge, ja sigui el rostre central o qualsevol dels laterals, la imatge resulta completa i, tanmateix, \u00e9s evident que forma part d\u2019un tot m\u00e9s ampli. El veritable significat d\u2019una pintura aix\u00ed \u00e9s molt dif\u00edcil de comprendre\u00bb. Sembla que Nanos Valaoritis (1921\u20132019) va quedar igualment desconcertat per aquesta imatge, ja que ell i la seva esposa en tenien una reproducci\u00f3 en una postal, que actualment tamb\u00e9 s\u2019exhibeix a MOMus. I \u00e9s que el Crist de tres rostres<\/em> va ser una forma ef\u00edmera de representar la Sant\u00edssima Trinitat abans que el papa Urb\u00e0 VIII el declar\u00e9s heretgia l\u2019any 1628 i fos considerat, en termes generals, no can\u00f2nic per l\u2019Esgl\u00e9sia ortodoxa. Amb el pas del temps, ha exercit una ag\u00e8ncia queer que pot esdevenir un camp obert per al canvi radical. El Crist de tres rostres<\/em> continua sent un objecte mutable que convida a ser reactivat i sotm\u00e8s a una performance cr\u00edtica.<\/p>\n

\"The

Walid Raad, Postscript to the Arabic Edition<\/em>, 1938\u20132025, Arsenale, Biennal de Ven\u00e8cia 2026. Foto: Vivek Gupta<\/p><\/div>\n

Tanquem aquest cap\u00edtol amb l\u2019obra de Walid Raad (n. 1967, Chbanieh), un artista que fa d\u00e8cades que reflexiona sobre la mutabilitat dels objectes. Moltes de les seves obres anteriors, com Scratching on Things I Could Disavow: Les Louvres<\/em>(Esgarrapar coses que podria negar: Les Louvres), han q\u00fcestionat qu\u00e8 passa quan els objectes muse\u00edstics s\u00f3n despla\u00e7ats i com els seus nous contextos de recepci\u00f3 els transformen. A Ven\u00e8cia, la seva instal\u00b7laci\u00f3 a l\u2019Arsenale, Postscript to the Arabic Edition, 1938\u20132025<\/em> (Ep\u00edleg a l\u2019edici\u00f3 \u00e0rab), mostra imatges pintades sobre els palets de fusta utilitzats per transportar armes i que, segons explica, s\u00f3n pintures perdudes d\u2019artistes \u00e0rabs i turcs. Un plaf\u00f3 explicatiu assenyala que, despr\u00e9s del final de la guerra civil libanesa l\u2019octubre de 1990, armes libaneses es van vendre i enviar a Iugosl\u00e0via amb aquests palets. \u00abQuan el carregament es descarregava, es va observar que, sota les armes, hi havia imatges \u2014boniques c\u00f2pies de pintures can\u00f2niques \u00e0rabs i turques\u2014 pintades sobre la superf\u00edcie dels palets\u00bb. Aqu\u00ed, Raad ens insta a enfrontar-nos a les \u00faltimes petjades perdudes, als records i a la destrucci\u00f3 dels objectes. La seva fabulaci\u00f3 cr\u00edtica continua: \u00abQui va fer aquestes c\u00f2pies? Per qu\u00e8 pintar-les sobre palets? Per qu\u00e8 amagar-les sota armes enviades a Ljubljana? I on s\u00f3n els originals? Encara no ho sabem\u00bb. Com ens recorda Dan Hicks, \u00abtots els monuments acabaran caient\u00bb, per\u00f2 les coses no continuen canviant despr\u00e9s de la seva mort?<\/p>\n

La setmana vinent continuarem aquesta discussi\u00f3 despla\u00e7ant-nos de l\u2019objectualitat a la materialitat i a les m\u00faltiples mitologies atribu\u00efdes als objectes que provoquen una performance intel\u00b7lectual de recerca de sentit.<\/p>\n

[Imatge de portada: Mandeep Raikhy, Hallucinations of an Artifact<\/em>, Kochi Biennale 2025\u201326. Foto: Denis Maksimov.]<\/p>\n","protected":false},"excerpt":{"rendered":"

Els objectes mai no s\u00f3n estables. Encara que la modernitat intenti fixar-los en un lloc, en un marc o en una quadr\u00edcula, continuen comportant-se de manera imprevisible. En un moment…<\/p>\n","protected":false},"author":2861,"featured_media":77203,"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":[9209],"tags":[],"coauthors":[6893,9206],"acf":[],"yoast_head":"\nL\u2019OBJECTE MUTABLE per Vivek Gupta & Denis Maksimov<\/title>\n<meta name=\"description\" content=\"L\u2019OBJECTE MUTABLE. Objects are never stable. Even if modernity tries to fix them in place, in a frame or grid, they continue to misbehave.\" \/>\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-mutable-object\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L\u2019OBJECTE MUTABLE per Vivek Gupta & Denis Maksimov\" \/>\n<meta property=\"og:description\" content=\"L\u2019OBJECTE MUTABLE. Objects are never stable. 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