{"id":7760,"date":"2013-05-20T02:00:00","date_gmt":"2013-05-20T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/05\/20\/sortir-per-a-ser\/"},"modified":"2013-05-20T02:00:00","modified_gmt":"2013-05-20T02:00:00","slug":"sortir-per-a-ser","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/sortir-per-a-ser\/","title":{"rendered":"Sortir per a ser"},"content":{"rendered":"

No s\u00e9 si serviria, el fet de pensar la imatge cinematogr\u00e0fica a partir de la possibilitat de sortir d’ella mateixa. O, m\u00e9s aviat, fer-la sortir del lloc en el qual se l’ha encasellat. Sortir del lloc que ha ocupat sense deixar de ser ella mateixa. Permetre-li, potser, ser en un altre lloc. Dur a terme un escrutini iconogr\u00e0fic i traslladar a un altre espai el resultat. Un espai que no nom\u00e9s al\u00b7ludeix a all\u00f2 f\u00edsic sin\u00f3 especialment a all\u00f2 conceptual. Aix\u00f2 \u00e9s el que porten terme els artistes que reuneix l’exposici\u00f3 Insomnia<\/a>, comissariada per Neus Mir\u00f3. La mostra, que es pot veure a la Fundaci\u00f3 Mir\u00f3 de Barcelona, pot agrupar-se en tres parts i en totes elles s\u2019hi plantegen suggestives propostes sota les que invertir la mirada.<\/p>\n

D’una banda trobem els treballs de Hollis Framton. L’artista duu a terme una exploraci\u00f3 entorn de la conflu\u00e8ncia entre fotografia i cinema, permetent que el proc\u00e9s prengui pres\u00e8ncia en el resultat. El proc\u00e9s, \u00e9s clar, planteja interessants propostes al voltant del moviment i a la seva fragmentaci\u00f3.<\/p>\n

\"Hollis_Frampton_Nostalgia_1971.png\"<\/p>\n

D’altra banda trobem els treballs de Lis Rhodes, Peter Kubelka, Dan Graham i Stan Vanderbeek. Tots ells, des de diferents plantejaments, processos i formats, permeten dur a terme una reflexi\u00f3 sobre com modificar o, m\u00e9s aviat, multiplicar, la manera en qu\u00e8 l’espectador es relaciona amb la imatge que es projecta. Una imatge que ha estat analitzada, considerada i, com s’observa, presentada de manera rizom\u00e0tica. \u00c9s a dir, permetent que els diferents elements que la configuren participin d’ella, amb ella i amb l’entorn. Seguint el fil del discurs de Deleuze i Guattari, pares de la re-significaci\u00f3 del concepte, dir\u00edem que els treballs plantegen models rizom\u00e0tics que proposen pensar estructures aleat\u00f2ries i consangu\u00ednies, permeten obrir el camp de visi\u00f3 del que s’ha exposat i del que passa amb aix\u00f2. \u00c9s a dir, gr\u00e0cies a la translaci\u00f3 duta a terme pels artistes en relaci\u00f3 a aquesta imatge cinematogr\u00e0fica, podem acostar-nos a una nova manera de pensar i con\u00e8ixer la imatge, un nou estatus que no deixa de ser una via epistemol\u00f2gica per aprehendre mirant.<\/p>\n

\"Lis<\/p>\n

La tercera i \u00faltima part de l’exposici\u00f3 acull els treballs de Ben Rivers i Stan Douglas, ambd\u00f3s incideixen en la necessitat de plantejar canvis en el llenguatge cinematogr\u00e0fic i en la construcci\u00f3 dels models narratius.<\/p>\n

El conjunt ens remet a aquesta qualitat camale\u00f2nica de la imatge, ens retorna, tamb\u00e9, una pregunta sobre la seva naturalesa. Peces no exemptes d’una po\u00e8tica enlluernadora exploren altres maneres de ser amb. Fusi\u00f3 i di\u00e0leg amb la pintura; l’escultura; el dibuix; el so o l’arquitectura, per\u00f2 tamb\u00e9, amb elements b\u00e0sics propis al cinema com la llum; la foscor o el silenci. A partir d’espais de creaci\u00f3 que funcionen sempre com interrogants, les respostes, \u00e9s a dir, les obres que trobem, responen a partir d’el\u00b7lipsis iconogr\u00e0fiques que incideixen en la gram\u00e0tica cinematogr\u00e0fica. Un conjunt d\u2019auto-refer\u00e8ncies al format, l’espai i, potser el m\u00e9s suggestiu, al gir dut a terme cap a s\u00ed mateix, que esdev\u00e9 una mena de cirurgia sint\u00e0ctica.<\/p>\n

Totes les peces s’inscriuen en el seu potencial originari per poder anar m\u00e9s enll\u00e0 de la imatge. La narraci\u00f3 \u00e9s entesa com murmuri, i d’aqu\u00ed, d’aquest text no escrit, sorgeixen els significats que reubiquen el nou empla\u00e7ament. Poques vegades se’ns permet seguir els passos de tan a la vora, assistir a l’esdevenir del proc\u00e9s i observar de prop el moviment. Conv\u00e9 recordar que el cinema, en el fons, ens remet al moviment i no a un visionat a dist\u00e0ncia. D’aqu\u00ed la import\u00e0ncia d’aquesta empremta conceptual que situa al llenguatge cinematogr\u00e0fic com a faedor de realitats en l’espai. Tot s\u00f3n refer\u00e8ncies a aquest dirigir la mirada m\u00e9s enll\u00e0 de la pantalla, resseguir un fora de camp i confrontar.<\/p>\n","protected":false},"excerpt":{"rendered":"

No s\u00e9 si serviria, el fet de pensar la imatge cinematogr\u00e0fica a partir de la possibilitat de sortir d’ella mateixa. O, m\u00e9s aviat, fer-la sortir del lloc en el qual…<\/p>\n","protected":false},"author":1264,"featured_media":7735,"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":[],"tags":[],"coauthors":[6451],"acf":[],"yoast_head":"\nSortir per a ser – 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\/sortir-per-a-ser\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sortir per a ser – A*Desk\" \/>\n<meta property=\"og:description\" content=\"No s\u00e9 si serviria, el fet de pensar la imatge cinematogr\u00e0fica a partir de la possibilitat de sortir d’ella mateixa. 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