{"id":7734,"date":"2013-05-14T02:00:00","date_gmt":"2013-05-14T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/05\/14\/nueva-traduccion-el-efecto-lippard\/"},"modified":"2013-05-14T02:00:00","modified_gmt":"2013-05-14T02:00:00","slug":"nueva-traduccion-el-efecto-lippard","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/nueva-traduccion-el-efecto-lippard\/","title":{"rendered":"L’efecte Lippard. La in\u00e8rcia del discurs i les institucions"},"content":{"rendered":"

\"a)
\nQuan els relats s’articulen amb el poder adquireixen la forma de l’horitz\u00f3 de successos. L’espai-temps es divideix i els esdeveniments produ\u00efts a una banda no poden afectar un observador situat de l’altre. De la mateixa manera, els relats fraccionen l’espai i el temps de la hist\u00f2ria entre memorables i oblidats.<\/p>\n

La resson\u00e0ncia del discurs de Lucy Lippard va arribar a l’exhibici\u00f3 “Open Work in Latin America, Nova York & Beyond: Conceptualism Reconsidered, 1967-1978 <\/a>“, comissariada per Harper Montgomery al Hunter College. La hist\u00f2ria es torna a ancorar en els prestatges de l’art conceptual. Per als amants de les conspiracions, el conceptualisme \u00e9s un fenomen complex, no lineal. No es redueix a una cronologia per\u00f2 es cristal\u00b7litza en xarxes de poder. El relat de Lippard persisteix m\u00e9s enll\u00e0 de les evid\u00e8ncies que la hist\u00f2ria de l’art ve recollint en la darrera d\u00e8cada.<\/p>\n

L’exhibici\u00f3 “Open Work…” s’organitza en el vector te\u00f2ric, l’hist\u00f2ric i el curatorial. Seguint la teoria d’Eco, la mostra es fonamenta en un tipus de po\u00e8tica en qu\u00e8 les obres d’art poden forjar la m\u00e0xima ambig\u00fcitat i dependre de la intervenci\u00f3 activa de l’espectador, sense deixar per aix\u00f2 de ser “obra”.<\/p>\n

En segon lloc, el relat hist\u00f2ric s’associa a Lucy Lippard, a qui se li atribueix el terme “art desmaterialitzat”. L\u2019any 1973, Lippard va publicar “Six years: the dematerialization of the art object” en qu\u00e8 repassa part de la producci\u00f3 art\u00edstica conceptual anglosaxona i esmenta algunes experi\u00e8ncies llatinoamericanes que es troben en aquesta mostra (les del grup de Rosario i Tucum\u00e1n Arde a Argentina; les exposicions realitzades al CAyC de Buenos Aires i les obres de Luis Camnitzer amb el New York Graphic Workshop). Curiosament, Lippard no comenta les experi\u00e8ncies pr\u00e8vies d’Alberto Greco, Ricardo Carreira, Oscar Masotta, Roberto Jacoby.<\/p>\n

Probablement Masotta i Lippard hagin llegit l’article “The Future of the Book”, de Lissitzky, republicat a la New Left Review l\u2019any 1967. Possiblement hi hagin trobat el concepte de ‘desmaterialitzaci\u00f3<\/em>‘ interessant per comprendre l’art de l’\u00e8poca. Al juliol d’aquest mateix any Masotta va donar una confer\u00e8ncia a l’Instituto Di Tella que es va anomenar “Despu\u00e9s del Pop nosotros desmaterializamos”, i a l’octubre de l\u2019any 1967 va publicar el llibre “Happenings”, on es presenten les primerenques experi\u00e8ncies de l’art desmaterialitzat. Finalment, un any m\u00e9s tard, edita “Conciencia y estructura” en qu\u00e8 torna a referir-se a alguns d’aquests projectes. El m\u00e9s curi\u00f3s d’aquestes connexions i coincid\u00e8ncies \u00e9s que Lippard no hagi advertit l’exist\u00e8ncia de Masotta i el grup “de l’art dels mitjans”. No nom\u00e9s perqu\u00e8 va con\u00e8ixer a artistes de la ciutat de Rosario que havien treballat amb un dels membres del “l’art dels mitjans” a Tucum\u00e1n Arde o perqu\u00e8 va visitar el el Di Tella, sin\u00f3 perqu\u00e8 va con\u00e8ixer a un deixeble directe de Masotta.<\/p>\n

\"b)<\/p>\n

En tercer lloc, l’exhibici\u00f3 \u00e9s part de la col\u00b7lecci\u00f3 de Patricia Phelps de Cisneros i del treball dels curadors Gabriel P\u00e9rez Barreiro, Sof\u00eda Hern\u00e1ndez Chong-Cuy i Skye Monson. Aquesta col\u00b7lecci\u00f3 brilla per l’abs\u00e8ncia d’importants peces d’art desmaterialitzat que han estat discutides en nombroses investigacions i exhibicions des de fa m\u00e9s d’una d\u00e8cada: “Conceptualisme Global” al Museu de Queens, i “heterotop\u00edas” al Museu Reina Sofia de Madrid; “Conceptual Art: an anthology” de Alberro i Stimson; “Conceptual Art” d’Osborne; “Rewriting Conceptual Art” de Newman i Bird, i els treballs de Longoni i Mestman, Giunta i Katzenstein.<\/p>\n

Una mostra de la talla d’una col\u00b7lecci\u00f3 institucional com la de Cisneros hauria d’examinar acuradament les investigacions sobre conceptualismes que es desenvolupen des de diverses parts del m\u00f3n, i no preservar-se com una m\u00f2mia davant dels aven\u00e7os de la investigaci\u00f3 en art i les pr\u00e0ctiques curatorials. Una col\u00b7lecci\u00f3 institucional no es construeix des dels interessos comercials ni des del caprici personal, sin\u00f3 des de la investigaci\u00f3 hist\u00f2rica.<\/p>\n","protected":false},"excerpt":{"rendered":"

Quan els relats s’articulen amb el poder adquireixen la forma de l’horitz\u00f3 de successos. L’espai-temps es divideix i els esdeveniments produ\u00efts a una banda no poden afectar un observador situat…<\/p>\n","protected":false},"author":1404,"featured_media":7721,"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":"\nL'efecte Lippard. 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