{"id":7901,"date":"2013-06-27T02:00:00","date_gmt":"2013-06-27T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/06\/27\/performing-venice2209\/"},"modified":"2013-06-27T02:00:00","modified_gmt":"2013-06-27T02:00:00","slug":"performing-venice2209","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/performing-venice2209\/","title":{"rendered":"Performing Venice"},"content":{"rendered":"

\"The
\nSens dubte en els \u00faltims anys la performance s’ha normalitzat com un format art\u00edstic m\u00e9s. Ja no \u00e9s un ens estrany afegit a l’exposici\u00f3, sin\u00f3 que s’hi ha integrat i en forma part com qualsevol altre format, fins i tot convivint en simbiosi amb altres elements a l’hora de conformar una obra. No \u00e9s casualitat doncs que el Lle\u00f3 d’Or d’aquest any al millor artista de la biennal hagi recaigut en Tino Sehgal, les “situacions constru\u00efdes” del qual, com ell mateix les defineix, s’han vist als grans centres de l’art contemporani durant la darrera d\u00e8cada. A Ven\u00e8cia la trobem al Pavell\u00f3 Central de l’exposici\u00f3 comissariada per Massimiliano Gioni “Il Palazzo Enciclopedico”. La proposta de Sehgal posa en escena un parell d’int\u00e8rprets d’edats dispars que ignoren el seu entorn i duen a terme coreografies i c\u00e0ntics que al\u00b7ludeixen a la transmissi\u00f3 de coneixement, mite i cultura. Per\u00f2 no \u00e9s aquesta, per descomptat, l’\u00fanica pe\u00e7a de car\u00e0cter performatiu que trobem a la Biennal; aix\u00ed que, prenent el premi com a excusa, em proposo fer un personal passeig per alguns d’aquests treballs.<\/p>\n

En el mateix Pavell\u00f3 Central trobem \u2018Asylum\u2019, de l’artista Eva Kot\u00e1tkov\u00e1, basada en les jerarquies socials i les vies de comunicaci\u00f3, provistes a partir d’una col\u00b7laboraci\u00f3 amb pacients d’un hospital psiqui\u00e0tric de Praga. Composta de collages suspesos sobre vidre, recolzats contra prestatgeries o penjats d’estranys contenidors, la instal\u00b7laci\u00f3 suggereix un cos pol\u00edtic alternatiu, dissenyat a partir de la visi\u00f3 fragmentada de cossos que emergeixen dels objectes-interpretats per un parell de performers tancats literalment dins la instal\u00b7laci\u00f3 -, i que reflecteixen la perspectiva d’aquells que viuen fora de l’ordre social establert.<\/p>\n

Ja fora de l’exposici\u00f3 central, el pavell\u00f3 de Romania acull \u2018An Inmaterial Retrospective of the Venice Biennale\u2019. El projecte recorda la retrospectiva de Xavier LeRoy que vam poder veure l’any passat a la Fundaci\u00f3 T\u00e0pies, per\u00f2 en aquesta ocasi\u00f3, el focus es dirigeix a la hist\u00f2ria de la biennal i les seves obres m\u00e9s paradigm\u00e0tiques. Entrem en un pavell\u00f3 buit, i cada vegada que un dels performers presents nomenen una pe\u00e7a hist\u00f2rica, aquests la representen amb els seus propis cossos. La retrospectiva converteix el monumental en immaterial i els objectes en acci\u00f3.<\/p>\n

Al pavell\u00f3 d’It\u00e0lia la mostra \u2018Vice versa\u2019 juga al di\u00e0leg entre artistes, de vegades una mica for\u00e7ats des del discurs comissarial, proposant parelles d’obres amb conceptes diametralment vinculats. Francesca Grilli enfronta seva obra a la de Massimo Bartolini per evidenciar la dualitat so\/silenci. El projecte de Grilli implica un performer que interactua amb el ritme de gotes d’aigua caient sobre una gran planxa d’acer, posant de manifest la relaci\u00f3 entre veu i mat\u00e8ria, on l’erosi\u00f3 del metall simbolitza el poder tangible de la perseveran\u00e7a i la reiteraci\u00f3, i la veu, l’\u00faltima voluntat d’existir, \u00e9s absorbida i amplificada per l’aigua.<\/p>\n

I acabem el passeig al pavell\u00f3 compartit de Litu\u00e0nia i Xipre, comissariat per Raimundas Malasaukas, que b\u00e9 mereixeria un text a part. El projecte \u2018Oo\u2019 es defineix com “una estructura lleugerament asim\u00e8trica de transport irregular, amb elements oberts, que es basa en l’inter\u00e8s en les formes d’organitzaci\u00f3 m\u00e9s que l’organitzaci\u00f3 de les formes”. Situat al Palasport “Giobatta Gianquinto”, un m\u00edtic gimn\u00e0s veneci\u00e0 ve\u00ed de l\u2019Arsenale, les obres d’art conviuran amb les proves esportives que s’hi celebrin durant tot l’estiu. L’exposici\u00f3 s’expandeix pels diferents pisos del caracter\u00edstic edifici, convidant l’espectador a buscar les peces i perdre\u2019s en els seus passadissos, movent-se amb llibertat per l’espai -una cosa que es troba a faltar en tota la biennal-. A m\u00e9s, al llarg del recorregut trobem diverses peces coreogr\u00e0fiques, com la de Lia Haraki, que realitza fren\u00e8tics i repetitius moviments en acceleraci\u00f3, portant-se a si mateixa als l\u00edmits de la resist\u00e8ncia. A la pista de joc trobem la pe\u00e7a \u2018Cousins\u2019 de Gabriel Lester, una instal\u00b7laci\u00f3 feta de parets que provenen de catorze museus europeus, i que conformen una coreografia per a la interacci\u00f3 dels performers i els visitants. La coexist\u00e8ncia aconseguida al pavell\u00f3 \u00e9s sublim, no nom\u00e9s entre peces i espai, sin\u00f3 tamb\u00e9 entre els dos pa\u00efsos i ens les proves esportives pr\u00f2pies del gimn\u00e0s i les performances coreogr\u00e0fiques. D’altra banda, \u2018Oo\u2019 posa en q\u00fcesti\u00f3 el concepte mateix de pavell\u00f3 nacional, apostant per la col\u00b7laboraci\u00f3 i l’experimentaci\u00f3 i activant un espai de di\u00e0leg entre art i esport, amb una posada en escena original i conseq\u00fcent, des del cat\u00e0leg -un petit llibre de contes infantils- a la llista d’activitats programades. Una excel\u00b7lent opci\u00f3 per deixar-se sorprendre.<\/p>\n","protected":false},"excerpt":{"rendered":"

Sens dubte en els \u00faltims anys la performance s’ha normalitzat com un format art\u00edstic m\u00e9s. Ja no \u00e9s un ens estrany afegit a l’exposici\u00f3, sin\u00f3 que s’hi ha integrat i…<\/p>\n","protected":false},"author":1295,"featured_media":7875,"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":[],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nPerforming Venice – 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\/performing-venice2209\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Performing Venice – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Sens dubte en els \u00faltims anys la performance s’ha normalitzat com un format art\u00edstic m\u00e9s. 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