Sin Motivo aparente<\/a>‘ que una exposici\u00f3 \u00e9s un context espec\u00edfic. Un lloc finit amb regles pr\u00f2pies, en aquest cas constru\u00efdes entre les parets del Centro de Art 2 de Mayo de M\u00f3stoles. Habitat per obres de m\u00e9s de trenta artistes, i acompanyat d’un bonic cat\u00e0leg amb textos d’Abel Hern\u00e1ndez Pozuelo, Carlos Marzal i el mateix comissari. L’esperit que mou a aquesta comunitat \u00e9s el de mostrar-se senzilla, insignificant, oberta per a la recepci\u00f3 de les lectures lliures i espont\u00e0nies del p\u00fablic.<\/p>\nDos eixos articulen la mostra: el reclam d\u2019all\u00f2 l\u00fadic i po\u00e8tic del franc\u00e8s Robert Filliou, i la defensa de Laurence Weiner de l’exist\u00e8ncia de quelcom compartit entre art i p\u00fablic. Tots dos apel\u00b7len a un fet com\u00fa a l’obra d’art i la seva audi\u00e8ncia; en primer cas \u00e9s de tipus actitudinal, en el segon, ling\u00fc\u00edstic. Interessants guies per definir un marc te\u00f2ric avui. Les obres, tot i que amb veus massa dispars, repeteixen el que sembla un di\u00e0leg Becketti\u00e0 sobre all\u00f2 tautol\u00f2gic de l’abs\u00e8ncia de trama. Entre elles, algunes aparentment m\u00e9s contingudes com Sense activitat<\/em> (Ignasi Aball\u00ed, 2013), A Long Day for the Form<\/em> (David Maljovic, 2012), o Fear<\/em> (Nedko Solakov, 2003) conviuen amb propostes en principi m\u00e9s pict\u00f2riques com Lichtzeang<\/em> (Daniel Steegmann Mangran\u00e9, des de 1998), My Frontier is an Endless Wall of Points (After the Mescaline Drawings of Henri Michaux)<\/em> (Joachim Koester, 2007), o Filipa Nomoro<\/em> i Edwin Romualdo<\/em> (Jos\u00e9 D\u00edaz, 2013). Per\u00f2 cap, pict\u00f2rica o s\u00f2bria, s\u00f3n simplement forma. Potser \u00e9s aix\u00f2 el que hauria valgut la pena recordar al p\u00fablic: que encara que en aquest cas s’intenti obviar, els integrants de la comunitat s\u00ed que tenen cadascun una trama individual.<\/p>\nEl disseny de les sales inclou una s\u00e8rie de missatges escrits en gran, dirigits al p\u00fablic, amb els quals es fomenta una lectura oberta de la mostra. \u00bfPer\u00f2 no \u00e9s una cosa que el p\u00fablic sempre fa, aix\u00f2 de fer una lectura pr\u00f2pia de les obres? Per damunt de les guies que normalment proporciona el discurs curatorial de tota exposici\u00f3, vull creure que ning\u00fa reprimeix la inclinaci\u00f3 natural a entendre des del seu cos. Potser els no iniciats siguin, fins i tot, els que m\u00e9s disposats estan en general a alternar entre els dos jocs. Potser als que va dirigida la invitaci\u00f3 d’omplir les formes des de la pr\u00f2pia subjectivitat s\u00f3n aquells que, per deformaci\u00f3 professional o massa conviv\u00e8ncia amb certs discursos, vam perdre\u2019n la pr\u00e0ctica.<\/p>\n
Per\u00f2 l’important \u00e9s que Hontoria recalca l’especificitat de la proposta. \u00c9s per aix\u00f2 que fer un exercici de defensa de l’autonomia de l’art avui no \u00e9s igual que fer-ho en els anys quaranta. Ni en els seixanta. Aquesta il\u00b7lusi\u00f3 est\u00e0 emmarcada en el primer cas en una crida a l’ordre mitjan\u00e7ant la persecuci\u00f3 de la puresa universal de la forma de l’art -per a alguns necess\u00e0ria despr\u00e9s de tanta perversi\u00f3-; en el segon, \u00e9s la dogm\u00e0tica innoc\u00e8ncia de creure que despr\u00e9s de la revoluci\u00f3 dels r\u00e8gims est\u00e8tics, l’abstracci\u00f3 extrema de les formes fetes text ser\u00e0 norma. Totes dues comparteixen un substrat universalitzant que \u00e9s el que precisament els situa en el passat. \u00c9s perqu\u00e8 cada acte enunciatiu defineix avui els seus propis par\u00e0metres d’exist\u00e8ncia que podem anar a una expo on es reivindica “un art basat en la m\u00e9s pura i sincera espontane\u00eftat” i no pensar que, de veritat, ens estan demanant que oblidem el nostre cos. Val la pena fer el viatge, entrar a la comunitat fict\u00edcia una estona i deixar-se portar.<\/p>\n","protected":false},"excerpt":{"rendered":"
Una de les coses que ens va deixar el final del s. XX \u00e9s l’alleujament de no carregar amb la reescriptura de la hist\u00f2ria sobre les espatlles. Un gest no…<\/p>\n","protected":false},"author":1245,"featured_media":7744,"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":"\n
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![\"CA2M](\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/05\/ca2m_lara_favoretto_gummo_ii_240.jpg\")
<\/p>\n