{"id":77510,"date":"2026-06-15T07:30:46","date_gmt":"2026-06-15T05:30:46","guid":{"rendered":"https:\/\/a-desk.org\/?p=77510"},"modified":"2026-06-13T17:57:02","modified_gmt":"2026-06-13T15:57:02","slug":"material-mythologies","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/material-mythologies\/","title":{"rendered":"Mitologies materials"},"content":{"rendered":"

Els m\u00e9s feli\u00e7os dels nen\u00fafars creixen aquest any al Pavell\u00f3 del Canad\u00e0 de la Biennal de Ven\u00e8cia. Entre chien et loup<\/em>(Entre gos i llop) d\u2019Abbas Akhavan (n. 1977, Teheran) transforma el pavell\u00f3 canadenc en un hivernacle on els nen\u00fafars Victoria (Victoria cruziana<\/em>) floreixen en condicions ideals de calor i humitat. En el seu nou jard\u00ed, resisteixen l\u2019apropiaci\u00f3 imperial i comencen a desprendre\u2019s del pes de la seva refer\u00e8ncia pol\u00edtica a la reina Vict\u00f2ria (1819\u20131901). Perqu\u00e8, all\u00e0 on les seves llavors puguin arribar, si se\u2019ls proporciona l\u2019ecologia adequada, prosperen.<\/p>\n

Akhavan trasllada els nen\u00fafars de l\u2019exposici\u00f3 de la Gran Exposici\u00f3 Universal de 1851 al Hyde Park de Londres a l\u2019actual fira mundial de l\u2019art. Tanmateix, a difer\u00e8ncia de 1851, Entre chien et loup<\/em> comen\u00e7a a desmitificar el nen\u00fafar donant a l\u2019espectador espai per ser testimoni de l\u2019ag\u00e8ncia de la planta i de la nuesa de la seva vida material. El p\u00fablic pot participar de la simple alegria d\u2019observar com aquests nen\u00fafars floreixen durant l\u2019estiu. Encara que el seu llegat colonial roman en segon pla, Akhavan crea una ecologia perqu\u00e8 els nen\u00fafars comencin a respirar. El nen\u00fafar en flor ens recorda la possibilitat de sobreviure a imaginaris imposats i a significacions pol\u00edtiques.<\/p>\n

\"Material

Sofia Dona, In Tempe or the dales of Arcady<\/em> (2026), Biennal de Tessal\u00f2nica, 2026. Foto: @sofia_dona_<\/p><\/div>\n

D\u2019altra banda, hi ha artistes que ens fan esfor\u00e7ar-nos en carregar les seves obres amb tanta mitologia que acabem perdent el fil. El febrer de 2023, un accident de tren devastador a la vall de Tempe, Gr\u00e8cia, va causar la mort de 57 persones que viatjaven d\u2019Atenes a Tessal\u00f2nica<\/a>. Despr\u00e9s del succ\u00e9s, la societat grega va celebrar vetlles en honor a les v\u00edctimes, protestes exigint responsabilitats, disturbis contra la corrupci\u00f3 i vagues del sindicat ferroviari. L\u2019artista i activista grega Sofia Dona (n. 1981, Atenes) va respondre a aquests fets tr\u00e0gics amb In Tempe or the dales of Arcady<\/em> (En Tempe o a les valls d\u2019Arc\u00e0dia), un v\u00eddeo de quinze minuts compost per imatges filmades i animacions generades per IA.<\/p>\n

Per a Dona, tota l\u2019ecologia de la vall de Tempe, passat i present, va servir com a arxiu material. Va utilitzar la IA per reanimar el clima de biodiversitat extingida que ocupava antigament la vall. Encara que es tracta d\u2019un gest commovedor per retre homenatge a les vides perdudes recentment, l\u2019obra est\u00e0 plena de refer\u00e8ncies mitol\u00f2giques que resulten dif\u00edcils de seguir. Dona barreja refer\u00e8ncies a les Metamorfosis<\/em> d\u2019Ovidi amb la poesia de John Keats i els murmuris de dos dels seus amics que gaireb\u00e9 van pujar al tren descarrilat. Ha d\u2019existir una manera menys enrevessada de mitologitzar aquesta ecologia. On Dona s\u00ed encerta \u00e9s en no reexternalitzar la viol\u00e8ncia de la terra, sin\u00f3 en reimaginar all\u00f2 que ha desaparegut. El seu v\u00eddeo s\u2019erigeix com un monument ef\u00edmer a les vides perdudes.<\/p>\n

\"Material

Kirtika Kain, Chronicles<\/em> (2025), Aspinwall, Biennal de Kochi, 2025. Foto: Vivek Gupta<\/p><\/div>\n

A m\u00e9s de les mitologies materials que responen a una hist\u00f2ria ecol\u00f2gica com les d\u2019Akhavan i Dona, n\u2019hi ha d\u2019altres de car\u00e0cter profundament personal. Aquestes mitologies obliguen l\u2019espectador a recompondre les peces per entendre exactament quins materials va utilitzar l\u2019artista en les seves obres i per qu\u00e8 aquests materials importen. I, alerta de spoiler, aquests materials no solen ser evidents i sovint obliguen a llegir amb atenci\u00f3 la lletra petita del text expositiu.<\/p>\n

Dues artistes, Kirtika Kain (n. 1990, Nova Delhi) i Adebunmi Gbadebo (n. 1992, Livingston), les obres de les quals es van presentar a Kochi<\/a> i Ven\u00e8cia respectivament, han creat objectes abstractes que reflexionen sobre les seves biografies personals. El projecte Chronicles<\/em> (2025) de Kain inclou metxes de cot\u00f3 per a l\u00e0mpades impregnades de quitr\u00e0 i incrustades en plaques suspeses de coure de color verd mar. Mitjan\u00e7ant l\u2019escalfament, la fosa i l\u2019oxidaci\u00f3, l\u2019artista permet que aflorin les textures del coure. Aquest proc\u00e9s labori\u00f3s dona lloc a abstraccions que accentuen la mutabilitat del material. Tanmateix, la connexi\u00f3 de Chronicles<\/em> amb la identitat de la di\u00e0spora dalit a la qual pertany Kain no resulta evident a primera vista. \u00c9s cert que les comunitats dalit es distingeixen per la seva tradici\u00f3 en els treballs de metal\u00b7l\u00fargia, per\u00f2 queda en mans del p\u00fablic preguntar-se si aquest \u00e9s el motiu pel qual Kain va centrar la seva atenci\u00f3 en aquest material.<\/p>\n

\"Material

Adebunmi Gbadebo, instal\u00b7laci\u00f3 de diverses obres (2023\u201326), al fons James Island<\/em> (2025\u201326), Giardini, Biennal de Ven\u00e8cia, 2026. Foto: Vivek Gupta<\/p><\/div>\n

Per la seva banda, les abstraccions de Gbadebo provoquen igualment que l\u2019espectador hagi d\u2019enfrontar-se a una pres\u00e8ncia material estratificada. El seu \u00fas de fragments de cabell afroameric\u00e0 evoca, per descomptat, una llarga genealogia material resumida de manera exemplar en la pr\u00e0ctica de Lorna Simpson (n. 1960, Brooklyn). Per\u00f2 aquesta mitologia material \u00e9s molt m\u00e9s espec\u00edfica de la identitat de Gbadebo. Per exemple, la lletra petita de les set obres suspeses i realitzades en paper titulades James Island<\/em> (2023\u201326), nom d\u2019un lloc al sud de Charleston, Carolina del Sud, inclou una llarga llista de materials. Est\u00e0 feta \u201cde terra del cementiri de la plantaci\u00f3 True Blue, SC; caol\u00ed extret d\u2019Aiken, SC; terra de la plantaci\u00f3 Stoney Bluff, SC; cabell hum\u00e0 recollit en barberies de Harlem; \u00edndigo; mica; vincapervinca; pigment blau de ftalats; pigment blau persa; cabell de Cheryl R. Riley; closca i llavor de cot\u00f3 de la plantaci\u00f3 True Blue; llavor d\u2019okra de la fam\u00edlia Moody; llavor d\u2019okra de la fam\u00edlia Catawba Freedman; llavor de p\u00e8sol \u2018ull de peix\u2019 de la fam\u00edlia Ezelle; p\u00e8sol Sea Island; forquilles, i barres d\u2019acer inoxidable\u201d. \u00c9s un arxiu extraordinari, del qual se\u2019ns diu que est\u00e0 vinculat a les comunitats de Carolina del Sud (SC) on els avantpassats de Gbadebo van viure i van ser sotmesos a treballs for\u00e7ats.<\/p>\n

\"Material

\u00a0James Island<\/em> (2025\u201326), detall, Giardini, Biennal de Ven\u00e8cia, 2026. Foto: Vivek Gupta<\/p><\/div>\n

I, malgrat les seves especificitats en relaci\u00f3 amb les identitats de la di\u00e0spora dalit o afroamericana, en observar conjuntament James Island<\/em> de Gbadebo i Chronicles<\/em> de Kain, veiem diverses similituds formals. Apareixen com l\u00e0mines de mitologies personals coagulades, totes dues utilitzant l\u2019abstracci\u00f3 per parlar de les relacions de poder encarnades en el treball. Tanmateix, fins a quin punt aquestes materialitzacions del conflicte i la mem\u00f2ria arriben m\u00e9s enll\u00e0 d\u2019una mitologia personal? I en quina mesura la seva c\u00e0rrega afectiva dep\u00e8n del coneixement de les hist\u00f2ries complexes dels materials utilitzats? S\u00f3n preguntes dif\u00edcils perqu\u00e8 totes dues artistes destaquen precisament per exposar materials texturitzats i les seves condicions de producci\u00f3.<\/p>\n

\"Material

Alfredo Jaar, The End of the World<\/em> (2023\u201324), Arsenale, Biennal de Ven\u00e8cia, 2026. Foto: Denis Maksimov<\/p><\/div>\n

Concloem amb una obra que funciona com a contrapunt del pavell\u00f3 d\u2019Akhavan. Si Entre chien et loup<\/em> assenyala la persist\u00e8ncia de la vida material, The End of the World<\/em> d\u2019Alfredo Jaar (n. 1956, Santiago) posa l\u2019atenci\u00f3 en la seva destrucci\u00f3. Intensificada per una llum vermella que genera ansietat, Jaar<\/a> construeix una catedral de la cobd\u00edcia humana on presenta deu metalls rars: coure, terres rares, estany, n\u00edquel, liti, mangan\u00e8s, colt\u00e0, germani i plat\u00ed. Aquests metalls s\u00f3n essencials per a les tecnologies de guerra i s\u00f3n precisament els materials responsables de les trag\u00e8dies humanes m\u00e9s greus del present. Modelats en forma de petit cub i col\u00b7locats en una vitrina al final d\u2019un passad\u00eds vermell, aquests metalls es condensen per representar una nova religi\u00f3 global basada en l\u2019extracci\u00f3 de recursos. Aqu\u00ed, triar entre el cam\u00ed de la vida, com en els nen\u00fafars d\u2019Akhavan, i l\u2019autodestrucci\u00f3, com a The End of the World<\/em> de Jaar, continua sent un repte constant. La preservaci\u00f3 de la nostra pr\u00f2pia humanitat ens obliga a cultivar el que Nadja Argyropoulou denomina \u201cintel\u00b7lig\u00e8ncia radical\u201d \u2014l\u2019acte de creaci\u00f3 m\u00e9s enll\u00e0 dels desitjos manipuladors d\u2019acumular, domesticar i sotmetre. Es tracta de les mitologies materials per les quals decidim regir-nos i de com reescrivim el seu futur.<\/p>\n

[Imatge de portada: Abbas Akhavan (n. 1977, Teheran), Entre chien et loup<\/em>, Pavell\u00f3 del Canad\u00e0, Giardini, Biennal de Ven\u00e8cia<\/a>, 2026. Foto: Denis Maksimov.]<\/p>\n","protected":false},"excerpt":{"rendered":"

Els m\u00e9s feli\u00e7os dels nen\u00fafars creixen aquest any al Pavell\u00f3 del Canad\u00e0 de la Biennal de Ven\u00e8cia. Entre chien et loup(Entre gos i llop) d\u2019Abbas Akhavan (n. 1977, Teheran) transforma…<\/p>\n","protected":false},"author":2861,"featured_media":77385,"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":"\nMitologies materials per VIVEK GUPTA & DENIS MAKSIMOV<\/title>\n<meta name=\"description\" content=\"Mitologies materials que elegimos para vivir y reescribir su futuro. + all\u00e1 de los deseos manipuladores de acumular, domesticar y someter\" \/>\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\/?p=77500\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mitologies materials per VIVEK GUPTA & DENIS MAKSIMOV\" \/>\n<meta property=\"og:description\" content=\"Mitologies materials que elegimos para vivir y reescribir su futuro. + all\u00e1 de los deseos manipuladores de acumular, domesticar y someter\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/?p=77500\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-15T05:30:46+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-06-13T15:57:02+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/06\/Material-mythologies.1.-Abbas-Akhavan-e1780606380699.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"900\" \/>\n\t<meta property=\"og:image:height\" content=\"955\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Denis Maksimov, Vivek Gupta\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Denis Maksimov\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Denis Maksimov, Vivek Gupta\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/?p=77500\",\"url\":\"https:\/\/a-desk.org\/?p=77500\",\"name\":\"Mitologies materials per VIVEK GUPTA & DENIS MAKSIMOV\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/?p=77500#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/?p=77500#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/06\/Material-mythologies.1.-Abbas-Akhavan-e1780606380699.jpeg\",\"datePublished\":\"2026-06-15T05:30:46+00:00\",\"dateModified\":\"2026-06-13T15:57:02+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/c89fa16ccf30a346fe5fef5dbfbd8db7\"},\"description\":\"Mitologies materials que elegimos para vivir y reescribir su futuro. + all\u00e1 de los deseos manipuladores de acumular, domesticar y someter\",\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/?p=77500#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/?p=77500\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/?p=77500#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/06\/Material-mythologies.1.-Abbas-Akhavan-e1780606380699.jpeg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/06\/Material-mythologies.1.-Abbas-Akhavan-e1780606380699.jpeg\",\"width\":900,\"height\":955,\"caption\":\"Material mythologies. 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