{"id":7933,"date":"2013-07-03T02:00:00","date_gmt":"2013-07-03T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/07\/03\/en-defensa-del-silenci-contingent\/"},"modified":"2013-07-03T02:00:00","modified_gmt":"2013-07-03T02:00:00","slug":"en-defensa-del-silenci-contingent","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/en-defensa-del-silenci-contingent\/","title":{"rendered":"En defensa del silenci contingent"},"content":{"rendered":"

\"1961.jpg\"
\nCom es gesten els canvis que antecedeixen a les revolucions? Com \u00e9s el silenci anterior al gran esdeveniment? Qui temptejava intu\u00eftivament el potencial de les noves tecnologies? I les possibilitats de renovaci\u00f3 dels llenguatges ja cl\u00e0ssics? La import\u00e0ncia de la mostra + – 1961 L’expansi\u00f3 de les arts<\/em> <\/a> \u00e9s que habita el n\u00ednxol de la resposta a aquestes preguntes.<\/p>\n

L’exposici\u00f3 es pot veure des d’ara fins a finals d’octubre al Museu Nacional Reina Sofia. \u00c9s una d’aquelles revisions necess\u00e0ries de moments hist\u00f2rics clau, on els t\u00edmids aven\u00e7os queden eclipsats per l’explosi\u00f3 conjunta de fets diversos poc temps despr\u00e9s. No \u00e9s que ning\u00fa conegu\u00e9s el treball de John Cage o Dick Manfield, per\u00f2 s\u00ed que \u00e9s cert que aquesta \u00e9s una mostra loqua\u00e7 de les seves exploracions cap als l\u00edmits de la m\u00fasica. Les partitures s’acompanyen de tota mena de documentaci\u00f3 addicional, mostrant-les com productes col\u00b7laterals d’una negociaci\u00f3 o investigaci\u00f3 conjunta, compartida i discutida pels membres d’una comunitat petita amb interessos comuns.<\/p>\n

Tamb\u00e9 sab\u00edem ja de la import\u00e0ncia de la dansa en el desenvolupament de nous llenguatges art\u00edstics en els darrers quaranta anys del s.XX, del San Francisco Dancers ‘Workshop<\/em>, d’Ann Halprin i la seva insist\u00e8ncia en la improvisaci\u00f3. De com d’important era dir-se Movedor<\/em> en lloc de performer<\/em> i, sobretot, d’acceptar l’esdeveniment tal com hagu\u00e9s tingut lloc, d’entendre\u2019l com alguna cosa en si mateix, no assajable, absolutament contingent i diferent. Sab\u00edem que Robert Morris havia passat per all\u00e0, molt abans d\u2019anomenar-se escultor<\/em>.<\/p>\n

I del teatre. Que George Brecht pens\u00e9s les seves composicions musicals en relaci\u00f3 a objectes, que d’anomenar m\u00fasica<\/em> pass\u00e9s a denominar-les esdeveniments<\/em>. Que el seu company Cage, de nou, parl\u00e9s del teatre com “la situaci\u00f3 constant en la que pots veure, sentir i olorar les coses”<\/em>. Sab\u00edem de l’empremta que va deixar el gui\u00f3 teatral, en forma d’instruccions, com a l\u00edmit per a tot la resta.<\/p>\n

Hav\u00edem llegit que el loft de Yoko Ono era escenari per a tot aix\u00f2. Que l’AG Gallery de Maciunas els va organitzar exposicions a tots. Que eren un grup d’amics fent coses per a ells. Diuen aquests i els de la seg\u00fcent generaci\u00f3 que no es coneixien. Aparentment no va existir contacte entre el fluxus, el minimal i el conceptual. Per estrany que pugui semblar, vivint tots en la mateixa illa.<\/p>\n

La mostra \u00e9s una lectura fonamental de com es llancen tots a la recerca del silenci contingent. Descriu qu\u00e8 passava abans del gran esclat de finals de d\u00e8cada. S’emmarca en aquesta genealogia de les arts marcada per l’\u00e8mfasi en l’empremta que les arts esc\u00e8niques han tingut en el pensament contemporani; la que defensa que l’alliberament dels lligams dels g\u00e8neres pl\u00e0stics va veure amb l’acceptaci\u00f3 en el seu centre de preguntes m\u00e9s familiars per als treballadors del cos i els sentits. El MNCARS d\u00f3na aquest estiu una bona lli\u00e7\u00f3 d’hist\u00f2ria de l’art.<\/p>\n","protected":false},"excerpt":{"rendered":"

Com es gesten els canvis que antecedeixen a les revolucions? Com \u00e9s el silenci anterior al gran esdeveniment? Qui temptejava intu\u00eftivament el potencial de les noves tecnologies? I les possibilitats…<\/p>\n","protected":false},"author":1245,"featured_media":7882,"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":"\nEn defensa del silenci contingent – 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\/en-defensa-del-silenci-contingent\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"En defensa del silenci contingent – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Com es gesten els canvis que antecedeixen a les revolucions? 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