{"id":7861,"date":"2013-06-16T02:00:00","date_gmt":"2013-06-16T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/06\/16\/miguel-angel-hernandez-preferiria\/"},"modified":"2013-06-16T02:00:00","modified_gmt":"2013-06-16T02:00:00","slug":"miguel-angel-hernandez-preferiria","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/miguel-angel-hernandez-preferiria\/","title":{"rendered":"Miguel \u00c1ngel Hern\u00e1ndez: preferiria no fer-ho, per\u00f2…"},"content":{"rendered":"

\"rosafotollibre.jpg\"<\/p>\n

‘Intento de escapada’<\/a> \u00e9s la novel\u00b7la del cr\u00edtic i professor d’hist\u00f2ria de l’art Miguel \u00c1ngel Hern\u00e1ndez que ha publicat recentment l’editorial Anagrama. El mateix autor aclareix a l’ep\u00edleg que no es tracta d’un assaig sin\u00f3 d’una novel\u00b7la, g\u00e8nere literari que a difer\u00e8ncia de la cr\u00edtica i l’assaig, li permet a l’autor narrar una hist\u00f2ria i embastar un discurs “fictici” que no per aix\u00f2 resulta ali\u00e8 a la “veritat”. Foucault va afirmar en alguna ocasi\u00f3 que no havia escrit m\u00e9s que ficcions al llarg de la seva vida, i que la ficci\u00f3 b\u00e9 podia ser un dispositiu que funcion\u00e9s en la veritat, de tal manera que fos possible “fabricar” una cosa que no exist\u00eds encara. Pensar des de la ficci\u00f3 per fer que les coses “ficcionin”, ocorrin. Aix\u00f2 no obstant, i tot i ser una hist\u00f2ria no real, trobem al llarg del llibre massa refer\u00e8ncies, massa paisatges coneguts i camins transitats que remeten a la hist\u00f2ria l’art, per\u00f2 tamb\u00e9 al panorama actual de l’art contemporani. Un mapa que ja va intentar esbossar Michel Houellebecq (El Mapa i el territori<\/em>, 2011), nom\u00e9s que ara Miguel \u00c1ngel Hern\u00e1ndez ho fa des de dins, des del “m\u00f3n de l’art” al qual pertany i que coneix b\u00e9.<\/p>\n

El relat s’articula en base a una estructura cl\u00e0ssica (introducci\u00f3, nus i desenlla\u00e7): un estudiant de Belles Arts -sense pretensions de ser artista- d’una ciutat de prov\u00edncies – M\u00farcia?- veu la seva rutina alterada per l’aparici\u00f3 de l’artista internacional del moment Jacobo Montes, que exposar\u00e0 al centre d’art de la ciutat. Per mediaci\u00f3 d’Helena, la seva professora de teoria de l’art i responsable de la sala, es converteix en assistent de l’artista, per anar descobrint a poc a poc que “L’art \u00e9s una cosa bruta, i no hi ha manera de rentar-la sense que perdi el seu color<\/em>“. Com a assistent de Montes, Marcos dur\u00e0 a terme una minuciosa investigaci\u00f3 sobre el problema de la immigraci\u00f3 a la seva ciutat, que ser\u00e0 clau per a la instal\u00b7laci\u00f3 final de Montes. En aquest sentit, Miguel \u00c1ngel Hern\u00e1ndez torna a recuperar la idea de l’artista com a historiador, tal com la va descriure en un llibre anterior –L’artista com a historiador (benjamini\u00e0)<\/em>, 2012- i que seria aquell artista que cerca la hist\u00f2ria no explicada, hist\u00f2ries paral\u00b7leles o alternatives, la hist\u00f2ria dels oblidats en els grans relats per reconstruir-la a trav\u00e9s d’imatges i objectes. Una tend\u00e8ncia en l’art contemporani que observem en artistes com Joachim Koester, Tacita Dean, Jeremy Deller o Francis Al\u00ffs, per citar nom\u00e9s alguns exemples. Fer hist\u00f2ria explicant les coses d’una altra manera \u00e9s fer pol\u00edtica, i en aquest punt, el treball d’investigaci\u00f3 iniciat per Marcos resulta m\u00e9s radical que el de Jacobo Montes. Marcos exemplificaria l’artista que no vol ser un artista com a tal, sin\u00f3 l’artista-historiador enyorat per Benjamin.<\/p>\n

Jacobo Montes \u00e9s l’artista transgressor i controvertit, alter ego<\/em> d’artistes com Santiago Sierra, Teresa Margolles, Guillermo Vargas, i molts d’altres. Com Serra, Montes realitza un art “comprom\u00e8s” i reprodueix formes d’explotaci\u00f3 del sistema capitalista, exercint ell mateix el poder sobre els oprimits, en aquest cas, els immigrants. La novel\u00b7la planteja fins a quin punt una obra d’art pot funcionar com un acte \u00e8tic i fins a quin punt \u00e9s leg\u00edtim fer-ho simulant el mateix exercici de poder i submissi\u00f3 que es critica. Quin \u00e9s el l\u00edmit d’un art presumiblement pol\u00edtic? \u00c9s necessari victimitzar i denigrar l’altre per emfatitzar la seva visibilitat? \u00bfFins a quin punt incideix en la realitat aquest tipus de pr\u00e0ctiques? Preguntes i contradiccions, ja totes formulades i exposades, i que apel\u00b7len a la responsabilitat de l’art i de l’artista davant el present i davant la societat en qu\u00e8 sorgeix i viu. No obstant aix\u00f2, com en qualsevol altre esfera de la vida, l’art est\u00e0 atrapat en la mateixa l\u00f2gica que mou el m\u00f3n, la del capital, i no precisament simb\u00f2lic. Com qualsevol altra disciplina, l’art hauria de fer un exercici d’autocr\u00edtica, per\u00f2 tamb\u00e9 la mateixa autocr\u00edtica que hauria d\u2019auto-imposar-se un jutge quan desnona a una persona per no fer front a una hipoteca, un banquer que ven preferents als seus clients, o un “qualsevol “que compra una samarreta d’una marca que explota dones en una f\u00e0brica a Bangla Desh.<\/p>\n

\u00c9s l’ep\u00edleg del llibre, on l’autor recorre a la meta-literatura, el que ens d\u00f3na les claus del relat i on es descriu el proc\u00e9s de legitimaci\u00f3 de l’art contemporani. Marcos acaba convertint-se en un cr\u00edtic d’art professional i en un prestigi\u00f3s professor universitari malgrat la seva descreen\u00e7a vers l’art i tot i estar conven\u00e7ut de la banalitat i hipocresia del “m\u00f3n de l’art”. El relat \u00e9s en realitat la hist\u00f2ria d’una frustraci\u00f3, la de tots, d’un no poder escapar d’una l\u00f2gica assumida i acceptada per la majoria, i sobretot, una tra\u00efci\u00f3 a la f\u00f3rmula de la prefer\u00e8ncia negativa de Bartleby I would prefer not to<\/em>, amb la qual acaba el llibre, ja que en realitat preferiria no fer-ho, per\u00f2 …<\/p>\n","protected":false},"excerpt":{"rendered":"

‘Intento de escapada’ \u00e9s la novel\u00b7la del cr\u00edtic i professor d’hist\u00f2ria de l’art Miguel \u00c1ngel Hern\u00e1ndez que ha publicat recentment l’editorial Anagrama. El mateix autor aclareix a l’ep\u00edleg que no…<\/p>\n","protected":false},"author":1246,"featured_media":7805,"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":"\nMiguel \u00c1ngel Hern\u00e1ndez: preferiria no fer-ho, per\u00f2... – 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\/miguel-angel-hernandez-preferiria\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Miguel \u00c1ngel Hern\u00e1ndez: preferiria no fer-ho, per\u00f2... – A*Desk\" \/>\n<meta property=\"og:description\" content=\"‘Intento de escapada’ \u00e9s la novel\u00b7la del cr\u00edtic i professor d’hist\u00f2ria de l’art Miguel \u00c1ngel Hern\u00e1ndez que ha publicat recentment l’editorial Anagrama. 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