{"id":7851,"date":"2013-06-10T02:00:00","date_gmt":"2013-06-10T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/06\/10\/moment-treppenwitz\/"},"modified":"2013-06-10T02:00:00","modified_gmt":"2013-06-10T02:00:00","slug":"moment-treppenwitz","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/moment-treppenwitz\/","title":{"rendered":"Moment Treppenwitz"},"content":{"rendered":"

\"Maestros-del-caos01.jpg\"
\nEl terme alemany “Treppenwitz”, descriu l’acte de pensar una resposta quan ja ha passat el seu moment pregunta i ocorre en llocs insospitats. Amb la q\u00fcesti\u00f3 de \u00bfcom articulem la mediaci\u00f3 (com a agents, artistes, educadors, comissaris) des dels nostres projectes?, me\u2019n vaig anar a Madrid, on s’exposava “Les ma\u00eetres du d\u00e9sordre” al CaixaForum<\/a>, comissariada per Jean de Loisy, president del Palais de Tokyo a Par\u00eds. Articulada en tres grans seccions, “L’ordre imperfecte”, “El domini del desordre” i “La catarsi”, l’exposici\u00f3 analitza la noci\u00f3 del desordre a trav\u00e9s dels diferents modes de negociaci\u00f3 amb les entitats del poder. Negociar, dialogar, intervenir, donant pas a la subversi\u00f3, l’obscenitat, la bacanal, la festa i finalment el nou ordre. La q\u00fcesti\u00f3 de la mediaci\u00f3 va atravessar el temps, des de l’exposici\u00f3 als esdeveniments seg\u00fcents.<\/p>\n

A la sala, peces de col\u00b7leccions etnogr\u00e0fiques, antropol\u00f2giques, i col\u00b7leccions privades, com m\u00e0scares; vestits; amulets; bastons i altra pan\u00f2plia xam\u00e0nica, convivien amb peces de diversos formats contemporanis de Thomas Hirschhorn; Joseph Beuys explicant quadres a una llebre morta; Anna Halprin amb “Dancing mi cancer”; Paul McCarthy amb “Painter”; Oleg Kulik controlat com un “gos boig”; Anette Messaguer; Esther Ferrer; Antoni T\u00e0pies; Sergio Prego; Jacques Liz\u00e8nne; Stephen Dean; Jonathan Messe, entre d’altres i altres entrevistes, v\u00eddeos i material documental.<\/p>\n

Els artistes-mediadors, amb la seva pr\u00e0ctica, registren com un etn\u00f2graf, s’activen com un sensor de la producci\u00f3 de coneixement i generen “sentit” sobre el seu entorn. All\u00f2 performatiu de les narratives all\u00e0, semblava ser un gest disruptiu en si mateix, al final d’un llarg per\u00edode d’esgotament, necessitat de canvi o de no entesa amb el poder amb qu\u00e8 s’estigu\u00e9s dialogant. L’ambient colpidor i la meva sensaci\u00f3 en sortir, va ser la de creuar una explosi\u00f3 i caure directament al buit. El “Desordre”, per mitj\u00e0 de les dissimilis vies de negociaci\u00f3, ens porten al caos, d’aquest a la catarsi i d’aqu\u00ed, al nou ordre. La q\u00fcesti\u00f3 del caos i l\u2019ordre, m\u00e9s enll\u00e0 de ritus i xamans, tamb\u00e9 \u00e9s una q\u00fcesti\u00f3 pol\u00edtica. Et pot aniquilar, tamb\u00e9 et pot salvar. Tot sonava com a advert\u00e8ncia, sobre el terreny d\u2019all\u00f2 conegut i all\u00f2 desconegut -el nou paradigma d’ordre social a qu\u00e8 ens aboquem-, all\u00f2 visible -all\u00f2 obsc\u00e8 de l’exposici\u00f3, del control sobre tots nosaltres- i l’invisible- els poders d\u2019all\u00f2 col\u00b7lectiu-. La lectura convidava a la indisciplina.<\/p>\n

De tornada a Barcelona, a trav\u00e9s d’un grup de xerrades, es despla\u00e7ava l’estructura de “Les ma\u00eetres du D\u00e9sordre” d’un moment a un altre.<\/p>\n

La primera conversa, s’inseria a ‘L’ordre imparfait’, posant sobre la taula de la impossibilitat de fer i dir qu\u00e8 ens condueix a la literalitat, la narrativitat, la diluci\u00f3 del discurs i finalment al cos i la seva \u00faltima fisicitat. Despr\u00e9s Dora Garc\u00eda passava per ‘El Domini Del Desordre’ encarant des de l’art les convencions \u00e8tiques i posicionant-se contra el “bonisme” del pensament. Deixant l’\u00e8tica, la moral, a la corda fluixa. M\u00e9s tard Valent\u00edn Roma ens va deixar les ‘Paraules d’Iniciats’, recorrent T\u00e0pies Contra T\u00e0pies, en un acte desacomplexat i complex a la vegada, en la lectura de T\u00e0pies i l’art, aterrant dimensions m\u00e9s pr\u00f2ximes al cos. Convertint la mediaci\u00f3 en un estat de la q\u00fcesti\u00f3, i no en la q\u00fcesti\u00f3 en s\u00ed mateixa. I finalment \u00d3scar Abril va indicar el cam\u00ed a la ‘Catarsi’ deixant clar que el paradigma de la societat moderna es modificar\u00e0, quan el DIY sigui el DIWO (Do It wiht others).<\/p>\n

Factors en com\u00fa: la performativitat dels discursos, dels successos, la deslocalitzaci\u00f3 de la mirada, el q\u00fcestionament sobre la veritat. Tots parlen del moment en qu\u00e8 el mediador apunta a revertir all\u00f2 de: “estar callat, assegut, escoltant i concentrat per despr\u00e9s aplaudir i sortir”. No \u00e9s una coincid\u00e8ncia.<\/p>\n

La mediaci\u00f3 passa a l’\u00e0mbit del col\u00b7lectiu quan \u00e9s un proc\u00e9s que s’emet tot el temps, que es deu a una adaptaci\u00f3. Ja \u00e9s un assumpte de domini col\u00b7lectiu. S’articula aleshores en un cos amb veu, en nom de la seva disciplina i d’altres. Els mediadors es re-configuren cada vegada, en funci\u00f3 de la seva estrat\u00e8gia. La mediaci\u00f3 finalment es converteix en un proc\u00e9s din\u00e0mic i performatiu, adquirint una dimensi\u00f3 pol\u00edtica, en la seva relaci\u00f3 amb la resta, en la seva funci\u00f3.<\/p>\n

Imagino que potser, a un estat de crisi com el que vivim, el segueixi un moment cat\u00e0rtic o diversos, que ho ressitu\u00ef tot en un nou paradigma. Mentre aix\u00f2 no passa, cal preguntar-se: \u00bfon, com, i a trav\u00e9s de qui o de qu\u00e8 passar\u00e0 la catarsi d’aquesta crisi? \u00bfSucceir\u00e0 a trav\u00e9s de la radicalitat social? El m\u00f3n de l’art est\u00e0 ben situat com a subjecte pol\u00edtic com per donar una resposta efica\u00e7 a la recerca d’aquest nou paradigma? Quin \u00e9s el paper dels mediadors aqu\u00ed?<\/p>\n

Si \u00e9s que la cultura \u00e9s l’opci\u00f3 m\u00e9s revolucion\u00e0ria a llarg termini, com va apuntar Montse Badia fa poc, necessitarem, des de les nostres posicions, intervenir per a formatar les superf\u00edcies on s’han impr\u00e8s valors que ja no ens serveixen, i recuperar l’essencial: el cos, en primera inst\u00e0ncia.<\/p>\n

Sense sortir encara de l’escala penso: El moment “Treppenwitz” sembla succeir una mica all\u00e0 on t\u00e9 lloc la mediaci\u00f3: a l’escala, despr\u00e9s “de”, o acompanyant “a”, i intenta recrear la situaci\u00f3 per poder, per fi, anar donant una resposta.<\/p>\n","protected":false},"excerpt":{"rendered":"

El terme alemany “Treppenwitz”, descriu l’acte de pensar una resposta quan ja ha passat el seu moment pregunta i ocorre en llocs insospitats. 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