{"id":7833,"date":"2013-06-07T02:00:00","date_gmt":"2013-06-07T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/06\/07\/una-experiencia-a-l-estil-lost-in\/"},"modified":"2013-06-07T02:00:00","modified_gmt":"2013-06-07T02:00:00","slug":"una-experiencia-a-l-estil-lost-in","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/una-experiencia-a-l-estil-lost-in\/","title":{"rendered":"Una experi\u00e8ncia a l’estil ‘Lost in translation’"},"content":{"rendered":"

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

Recordo que quan vaig veure la pel\u00b7l\u00edcula de Sofia Coppola me\u2019n vaig anar a dormir amb una mena d’ansietat difusa. No podia no identificar-me amb aquesta sensaci\u00f3 de desconcert, i fins i tot avorriment dels personatges davant el que esdevenia en aquella ciutat aliena. Va ser amb aquesta mateixa sensaci\u00f3 que vaig tornar de Frieze NY<\/a>. No a causa de la molta o poca qualitat de les obres. Vaig tornar inquieta causa de la desmesura del que s’oferia. Es tractava d’un programa que empenyia a la disbauxa, ja no nom\u00e9s per consumir sin\u00f3 pel que jo anomenaria una nova forma de satisfacci\u00f3: jo hi vaig ser, jo ho vaig veure \u2013vaig escoltar-ho; vaig sentir-ho; vaig menjar-ho; vaig tocar-ho, hi vaig interactuar-<\/em>. I \u00e9s que en la compet\u00e8ncia per ser “La Fira”, sembla ser que oferir de tot per a tots els sentits, i cada vegada m\u00e9s, \u00e9s la l\u00ednia a seguir. Sense aturar-se a pensar en que aquesta tend\u00e8ncia a l’exc\u00e9s roba el delit, i lluny de saciar al p\u00fablic, el fa m\u00e9s insatisfet.<\/p>\n

Per il\u00b7lustrar-ho una mica: Hi havien 180 galeries; m\u00e9s de 1.000 artistes de 32 pa\u00efsos i obres en tots els suports, incloent-hi performance. Frieze Projects; Frieze Talks; Frieze Sound; un tribut a FOOD (el restaurant obert el 1971 a Soho per Gordon Matta-Clark i Carol Goodden), i el Parc d’Escultures-en qu\u00e8 estava l’immens globus vermell amb forma de gos de Paul McCarthy, fent ombra a diversos dels treballs comissionats per Frieze Projects -i que per cert, va ser venut per 900.000 US$, … l\u00e0tex i aire calent-. Per si aquest llistat no fos suficient; quedaven les innombrables exposicions a les galeries de Chelsea i totes les obres col\u00b7locades al Highline<\/em>.<\/p>\n

Queda clar per qu\u00e8 l’aclaparament. Despr\u00e9s el desconcert. La gent estava m\u00e9s pendent dels seus iPhones, iPads i els vestits amb qu\u00e8 desfilaven els assistents que de les peces i els projectes. Les obres m\u00e9s populars semblaven ser aquelles que tenien miralls i\/o superf\u00edcies reflectants -que no eren poques-. En un primer moment vaig pensar en l’efic\u00e0cia en aquelles obres perqu\u00e8 semblava que confrontaven l’espectador amb temes com la ficci\u00f3 de la imatge o l’abisme que sempre hi ha entre el que es veu i el que \u00e9s. Ing\u00e8nua jo. Despr\u00e9s vaig descobrir que era per evitar les llargues cues del bany i retocar-se sense esperes per si aconseguien la foto que els donaria els cinc minuts de fama en un bloc sobre moda.<\/p>\n

Encara hi ha m\u00e9s. Falta esmentar el meravellats que quedaven amb obres els colors dels quals anaven amb la tend\u00e8ncia de la temporada (el ne\u00f3 i l\u2019\u00e8tnic van ser els guanyadors), i les que “homenatjaven” a Duchamp -s\u00ed, hi havia una versi\u00f3 2013 de ‘La Font’ i una altra de l\u2019’Eri\u00e7\u00f3’, en diferents galeries i de diferents artistes-. L’altre artista “influent” va ser Gustav Courbet amb \u2018L\u2019origen del m\u00f3n\u2019, tot i que les m\u00faltiples versions presentades finalment desvetllaven la identitat de la musa.<\/p>\n

A Frieze NY calia anar-hi amb determinaci\u00f3 perqu\u00e8 el panorama fos un altre. Dues performances, una mostra a Chelsea i tres converses del programa Frieze Talks em van bastar per quedar satisfeta. Aquest itinerari inclo\u00efa Suzanne Lacy, Joan Jones i Douglas Crimp, la performance de Tino Seghal “Ann Lee” (2011) a la galeria Marian Goodman; treballs de Richard Serra dels anys 1966-1971 a la galeria David Zwirner -entre els quals hi havia cinc extraordinaris curtmetratges: ‘Hand Catching Lead’ (1968); ‘Hands scraping’ (1968); ‘Hands Tied’ (1969); ‘Frame’ (1969) i ‘Color Aid’ (1979-1971)-, i la performance \u2018Heave and Shudder\u2019 d’Audrey Chen (cello\/veu) i Nate Wooley (trompeta) a l\u2019Anton Kern Gallery.<\/p>\n

Aquesta va ser la mesura justa per a mi. Em va deixar estar amb cada projecte el temps suficient per adonar-me que cada un d’aquests artistes, encara que molt diferents en m\u00e9s d’un pla, va resultar que tenien alguna cosa en com\u00fa. En la seva obra no hi havia un desig de fama, ni la prepot\u00e8ncia de presumir sobre l’acumulaci\u00f3 de coneixement en la seva llarga o curta formaci\u00f3. Sorgien d’un desig genu\u00ed de transmissi\u00f3 del que significa tenir, com a punt de partida per crear, l’esfor\u00e7 i el q\u00fcestionament del que \u00e9s propi.<\/p>\n

De nou, i amb tot, aquestes propostes no van ser “crowd pleasers”. Cosa que posa sobre la taula el tema d’un fenomen que jo anomeno l’efecte ‘Alka-Seltzer’ – l’efervesc\u00e8ncia de p\u00fablic en certs espais, que per la seva quantitat i “qualitat”, neutralitzen els efectes de l’art, en comparaci\u00f3 amb aquelles propostes que mostren un art m\u00e9s cr\u00edtic i el p\u00fablic \u00e9s m\u00e9s esc\u00e0s. Per\u00f2 donar-li corda a per qu\u00e8 va passar aix\u00f2 amb produccions d’artistes com els esmentats, em robaria el plaer hedonista, a l’estil Michel Onfray, que sento cada vegada que recordo cadascuna d’aquestes experi\u00e8ncies. Aix\u00ed que fins aqu\u00ed arribo i tanco amb un refrany dedicat als galeristes, organitzadors i curadors de fires: No hi ha pitjor cec que el que no hi vol veure<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Recordo que quan vaig veure la pel\u00b7l\u00edcula de Sofia Coppola me\u2019n vaig anar a dormir amb una mena d’ansietat difusa. No podia no identificar-me amb aquesta sensaci\u00f3 de desconcert, i…<\/p>\n","protected":false},"author":1294,"featured_media":7819,"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":"\nUna experi\u00e8ncia a l'estil 'Lost in translation' – 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\/una-experiencia-a-l-estil-lost-in\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Una experi\u00e8ncia a l'estil 'Lost in translation' – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Recordo que quan vaig veure la pel\u00b7l\u00edcula de Sofia Coppola me\u2019n vaig anar a dormir amb una mena d’ansietat difusa. 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