{"id":7943,"date":"2013-07-08T02:00:00","date_gmt":"2013-07-08T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/07\/08\/alguns-i-alguns-mes-a-la-fundacion\/"},"modified":"2013-07-08T02:00:00","modified_gmt":"2013-07-08T02:00:00","slug":"alguns-i-alguns-mes-a-la-fundacion","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/alguns-i-alguns-mes-a-la-fundacion\/","title":{"rendered":"Alguns… i alguns m\u00e9s, a la Fundaci\u00f3n Proa de Buenos Aires"},"content":{"rendered":"

\"proa-banner.jpg\"<\/p>\n

Com una par\u00e0frasi de la llegend\u00e0ria mostra ‘Alguns artistes’, que l\u2019any 1992 va posar en escena al moviment art\u00edstic del Centro Cultural Ricardo Rojas a Buenos Aires, la Fundaci\u00f3 Proa es posa al celler de tres dels principals col\u00b7leccionistes argentins.<\/em><\/p>\n

\u201cSense cap mena de sorpresa, (…) escoltem com molts artistes aconsegueixen donar compte del que fan amb precisi\u00f3 i economia envejables. (…) Ja no m\u00e9s deambular ignorant: treball!<\/em>\u201d Qui grunyia d’aquesta manera l\u2019any 1997 era Jorge Gumier Maier, director de la galeria del Centre Cultural Rojas, l’espai que s’havia convertit en una refer\u00e8ncia de l’art argent\u00ed de la generaci\u00f3 del noranta, i al qual Gumier Maier va aportar bona part de la seva prote\u00efna ideol\u00f2gica: incomunicable, misteri\u00f3s, poc inclinat al discurs universitari i a la mediaci\u00f3 amb l’audi\u00e8ncia, l’art del Rojas va ser un ecosistema art\u00edstic a\u00efllat, independent de les infraestructures institucionals que estaven en vies de convertir l’art contemporani en la ind\u00fastria cultural massiva que tots coneixem.<\/p>\n

Fundada l\u2019any 1989, la galeria del Rojas va tenir a Gumier Maier com el seu curador fins l\u2019any 1996, per\u00edode durant el qual va presentar als artistes que serien emblem\u00e0tics d’aquesta d\u00e8cada i el seu clima d’idees (com Lux Lindner, Marcelo Pombo, Fabio Kacero i Fernanda Llacuna , que l\u2019any 1998 va obrir al costat de Cecilia Pav\u00f3n la galeria i editorial ‘Bellesa i Felicitat’). Gumier Maier es va acomiadar de la seva funci\u00f3 amb una antologia que va ser alhora un manifest: ‘El Tao de l’Art’<\/em> (1997), del cat\u00e0leg de la qual est\u00e0 extreta la cita precedent. La mostra va ser un precipitat ideol\u00f2gic de l’art del Rojas, entre les files del qual van brillar els amateurs<\/em>, els entestats i els ingenus a consci\u00e8ncia. L’art que es nega a identificar-se amb el treball en una xarxa de relacions de producci\u00f3 professionals nom\u00e9s pot tornar en la direcci\u00f3 contr\u00e0ria de les idees est\u00e8tiques: cap a la ressacralitzaci\u00f3 de l’art, cap a la idea que l’art \u00e9s un objecte d’intel\u00b7lecci\u00f3 espiritual, nom\u00e9s susceptible de manifestar-se entre artistes. Tancant files entre artistes i tancant el cercle de la comunicaci\u00f3 (a un radi d’un metre, segons la recomanaci\u00f3 de Pombo), l’art roman fora de perill de la seva malversaci\u00f3 com a ind\u00fastria, com a treball, com a servei.<\/p>\n

D’aqu\u00ed la radical incomunicabilitat de l’art a la qual Gumier Maier fa refer\u00e8ncia en el seu assaig (l\u2019antagonista pol\u00e8mic del qual serien els vinils aclaridors de les biennals, amb la seva atmosfera de bona consci\u00e8ncia i extorsi\u00f3 intel\u00b7lectual). Per aix\u00f2 l’art argent\u00ed dels noranta va ser, tantes vegades, titllat d’intradu\u00efble. La seva intradu\u00efbilitat, en tot cas, responia a la autoconsci\u00e8ncia i a les necessitats espec\u00edfiques del moment: per ser diferent del treball, l’art havia de ser radicalment diferent de la comunicaci\u00f3, havia d\u2019esdevenir un objecte opac, retret, emp\u00e0tic nom\u00e9s per als que s’ubiquessin en la seva proximitat m\u00e9s estreta. Ponderar l’art argent\u00ed dels noranta enfront d’altres desenvolupaments del moment fa necessari recuperar aquest teixit d’idees, certament esot\u00e8ric.<\/p>\n

Amb tot aix\u00f2 en ment, \u00e9s possible entrar a Alguns artistes<\/a><\/em>, una exhibici\u00f3 de seleccions de les col\u00b7leccions de Gustavo Bruzzone , Esteban Tedesco i Alejandro Ikonicoff a la Fundaci\u00f3 Proa, que funciona t\u00e0citament com un homenatge dosificat a una generaci\u00f3 que va buscar recuperar la radicalitat est\u00e8tica, amb els seus principis i problemes, darrere les l\u00ednies de la ind\u00fastria del turisme, la burocr\u00e0cia institucional i el sector serveis.<\/p>\n

No obstant aix\u00f2, aquesta generaci\u00f3 -les obres dels quals integren la col\u00b7lecci\u00f3 Bruzzone, en la primera de les sales-, queda interrompuda per l’estrany impuls de presentar-la al costat de dos col\u00b7leccions, no nom\u00e9s molt posteriors, sin\u00f3 tamb\u00e9 molt diferents pel que fa la seva constituci\u00f3 hist\u00f2rica. N\u2019hi ha prou amb fer un pas cap a la seg\u00fcent sala de la Fundaci\u00f3 Proa per sospitar que entre els noranta i la d\u00e8cada del 2000 es va produir un canvi d’ambient dr\u00e0stic: m\u00e9s global, m\u00e9s as\u00e8ptic, dissociat del context i m\u00e9s aviat mancat de problemes ideol\u00f2gics (crisi? quina crisi?). L’art argent\u00ed dels 2000 en les versions de Tedesco i Ikonicoff sembla no afegir ni treure res, i m\u00e9s aviat ho esmorteeix tot en una mena de neutralitat sense antagonismes ni reaccions, inert com el gas arg\u00f3 que s’utilitza per segellar ampolles obertes i impedir el contacte del vi amb l’oxigen. L’exhibici\u00f3, que fins en el seu t\u00edtol recupera l’art dels noranta en detriment de la seg\u00fcent d\u00e8cada, li afegeix a la col\u00b7lecci\u00f3 de Bruzzone dues col\u00b7leccions senceres, per\u00f2 sense agregar-hi lectures ni interpretacions.<\/p>\n

La difer\u00e8ncia entre el vi i el vi amb soda \u00e9s un t\u00f2pic de l’argot pol\u00edtic peronista i una reversi\u00f3 del motiu del gatopardismo<\/em> (canviar per a qu\u00e8, en el fons, res no canvi\u00ef). Alguns artistes<\/em>, amb els seus tres cap\u00edtols, proposa una part de vi i dues de soda.<\/p>\n","protected":false},"excerpt":{"rendered":"

Com una par\u00e0frasi de la llegend\u00e0ria mostra ‘Alguns artistes’, que l\u2019any 1992 va posar en escena al moviment art\u00edstic del Centro Cultural Ricardo Rojas a Buenos Aires, la Fundaci\u00f3 Proa…<\/p>\n","protected":false},"author":1258,"featured_media":7917,"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":"\nAlguns... i alguns m\u00e9s, a la Fundaci\u00f3n Proa de Buenos Aires – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, 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