{"id":7832,"date":"2013-06-06T04:33:41","date_gmt":"2013-06-06T04:33:41","guid":{"rendered":"http:\/\/a-desk.org\/2013\/06\/06\/photoespana-i-la-tierra-mes-bella\/"},"modified":"2013-06-06T04:33:41","modified_gmt":"2013-06-06T04:33:41","slug":"photoespana-i-la-tierra-mes-bella","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/photoespana-i-la-tierra-mes-bella\/","title":{"rendered":"PhotoEspa\u00f1a i la Terra m\u00e9s bella"},"content":{"rendered":"

\"fotograf\u00c3\u00ada<\/p>\n

A Cultura i Imperialisme<\/a>, Edward Said parla del clima generat per l’imperi tant en l\u2019\u00e0mbit pol\u00edtic i econ\u00f2mic com en l’art\u00edstic. Said es refereix a la manera en qu\u00e8 conscient o inconscientment, la producci\u00f3 art\u00edstica promovia la circulaci\u00f3 de teories que disseminaven els diferents imaginaris, formes i conceptes de dominaci\u00f3 colonial, aix\u00ed com d’identitat nacional o de nost\u00e0lgia colonialista de les antigues metr\u00f2polis i de frustraci\u00f3 davant la p\u00e8rdua de les seves col\u00f2nies. Amb molt d’encert, Said acaba establint que els encreuaments entre “cultura i imperialisme s\u00f3n obligats”, ja que pesa m\u00e9s el que roman impl\u00edcit de forma subjectiva que l’obvietat de pol\u00edtiques econ\u00f2miques o comercials.<\/p>\n

Un exemple d’aquests encreuaments entre ex metr\u00f2polis i ex col\u00f2nies \u00e9s Photoespa\u00f1a<\/a>. El seu director art\u00edstic, el cub\u00e0 Gerardo Mosquera, s’ha proposat trobar noves solucions en organitzar tota l’estructura de l’esdeveniment sobre bases privades i intentar donar un gir radical en la seva curadoria, cap a un canvi de mirades que l\u2019assimilen m\u00e9s a d\u2019altres esdeveniments d’art internacionals. Per a aquesta edici\u00f3 es proposa abordar \u201ccos\u201d, \u201ceros\u201d i \u201cpol\u00edtiques\u201d convidant a artistes de talla internacional com Shirin Neshat i Cristina Lucas. No obstant aix\u00f2, a la Casa d’Am\u00e8rica de Madrid i durant el mateix esdeveniment, mostra l’exposici\u00f3 “La terra m\u00e9s bella, Cuba<\/a>” inspirada en “la manera de veure i percebre una cultura, percebre la terra, la pell i el sabor d’una cultura diferent”, repetint en el t\u00edtol la frase de Crist\u00f2for Colom en arribar a l’illa.<\/p>\n

Conec en l’actualitat molts fot\u00f2grafs i comissaris “decents” que creuen en la seva obra i en el comprom\u00eds social que aquesta genera, i que no obstant aix\u00f2, no poden deixar de reproduir els mateixos c\u00e0nons que no permeten que aquest “Tercer m\u00f3n” sigui vist d’una altra manera que com a subordinat o dominat. La seva actitud no est\u00e0 lligada a consideracions morals, ni la de fot\u00f2grafs que pretenen una suposada “incontaminaci\u00f3” i imparcialitat davant el que veuen.<\/p>\n

Mart\u00ed Manen es lamentava en un article publicat aqu\u00ed <\/a> sobre les formacions culturals i tab\u00fas recognoscibles que romanen arrelats en pr\u00e0ctiques socials i en el pla ideol\u00f2gic actual. Esmentava la manca d’exposicions veraces sobre Llatinoam\u00e8rica i la p\u00e8rdua d’aquest di\u00e0leg entre Espanya i Llatinoam\u00e8rica, que fes alguna cosa m\u00e9s que utilitzar Madrid com a porta d’entrada a Europa (o Llatinoam\u00e8rica com a porta d’entrada a Hollywood).<\/p>\n

“La terra m\u00e9s bella …” \u00e9s un exemple d’aquesta manca de veracitat. Conec alguns dels fot\u00f2grafs participants i la seva intenci\u00f3 \u00e9s nom\u00e9s la de documentar, una vegada m\u00e9s, aquesta falta de regulaci\u00f3; aquest m\u00f3n marginat i a\u00efllat a causa del bloqueig i que no fa m\u00e9s que reproduir la des\u00eddia; l’abandonament; els absurds deliris de la religiositat popular i els pelegrinatges.<\/p>\n

I \u00e9s que els primers a fer bandera de tot aix\u00f2 han estat els mateixos fot\u00f2grafs cubans, talents del lent que es debaten entre un fort sentit d’identitat nacional i un complex de subalternitat amb el que fan mofa de s\u00ed mateixos. Per\u00f2 com passa amb tots els temes que aborden minories o grups desafavorits, no \u00e9s la mateixa intenci\u00f3 impl\u00edcita la que hi ha en mirar-se a un mateix que en mirar l’altre, encara que ho inundi la suposada innoc\u00e8ncia de la imparcialitat. Sempre pesar\u00e0 sobre els fot\u00f2grafs forans un sentit de distanciament moral, que \u00e9s el mateix que sorgeix quan es retrata un grup social del qual no es forma part, i que nom\u00e9s s’aconsegueix veure a trav\u00e9s d’estereotips, com les corbes del cos de la mulata, la religi\u00f3, la depressi\u00f3 social, les al\u00b7lucinants i surrealistes escenes d’un pa\u00eds que sucumbeix al caos social, com descriu Alejo Carpentier a la seva novel\u00b7la “El regne d’aquest m\u00f3n”.<\/p>\n

“Jo nom\u00e9s retrato el que veig”, podrien al\u00b7legar grans fot\u00f2grafs com Garc\u00eda Alix o Cristina Garc\u00eda Rodero. Per a desmentir-los, fa poc Babak Salari, un reconegut fot\u00f2graf irani\u00e0 va visitar l’illa i va retratar un altre tema freq\u00fcentat: transvestits i homosexuals, tant dins com fora del seu entorn familiar. Per\u00f2 tamb\u00e9 es va dedicar, amb encert, a retratar importants personalitats homosexuals del camp de les arts visuals, la literatura i el teatre. I aleshores el punt d’enfocament canvia, demostrant que tant fot\u00f2grafs com comissaris sempre s\u00f3n conscients del que fan, i que sempre hi ha un pre-judici, una elecci\u00f3 pre-determinada del que es vol veure i de com es vol veure.<\/p>\n","protected":false},"excerpt":{"rendered":"

A Cultura i Imperialisme, Edward Said parla del clima generat per l’imperi tant en l\u2019\u00e0mbit pol\u00edtic i econ\u00f2mic com en l’art\u00edstic. Said es refereix a la manera en qu\u00e8 conscient…<\/p>\n","protected":false},"author":1262,"featured_media":7817,"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":"\nPhotoEspa\u00f1a i la Terra m\u00e9s bella – 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\/photoespana-i-la-tierra-mes-bella\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"PhotoEspa\u00f1a i la Terra m\u00e9s bella – A*Desk\" \/>\n<meta property=\"og:description\" content=\"A Cultura i Imperialisme, Edward Said parla del clima generat per l’imperi tant en l\u2019\u00e0mbit pol\u00edtic i econ\u00f2mic com en l’art\u00edstic. 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