{"id":7944,"date":"2013-07-09T02:00:00","date_gmt":"2013-07-09T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/07\/09\/you-should-be-listening2240\/"},"modified":"2013-07-09T02:00:00","modified_gmt":"2013-07-09T02:00:00","slug":"you-should-be-listening2240","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/you-should-be-listening2240\/","title":{"rendered":"You should be listening"},"content":{"rendered":"

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\nHi va haver un temps en qu\u00e8 el so es presentava (o millor dit, el presentaven alguns, uns quants, potser bastants, almenys els suficients com per crear un corrent) com a r\u00e8plica i esper\u00f3 contra una cultura, pr\u00e0ctiques art\u00edstiques incloses, dominada per l’hegemonia de la visi\u00f3. No per casualitat la vista segueix sent el sentit privilegiat de la major part de l’experi\u00e8ncia (est\u00e8tica) humana. I la visibilitat, entre m\u00e0xima i exig\u00e8ncia, s’ha convertit en una mena de despotisme lustrat.<\/p>\n

Eren temps aquells, all\u00e0 a finals dels anys 90 i principis del segle XXI, per diversos i pertinents rescats conceptuals d’un passat legitimador que atorgu\u00e9s un sentit reflexiu a tota una onada de pr\u00e0ctiques art\u00edstiques que feien del so la seva principal mat\u00e8ria prima. Es parlava (m\u00e9s aviat es rellegia) de Luigi Russolo i el seu “Manifesto dei rumori”; se citava (m\u00e9s aviat es recuperava) l’una vegada heterodox moviment Fluxus; se celebrava (m\u00e9s aviat es ponderava) la cultura dj<\/em> com un nou mirall en el qual mirar-se esperant albirar, amb les vista per\u00f2 tamb\u00e9 amb l’o\u00efda, un nou relat en el qual identificar-se. Eren temps d’exaltaci\u00f3 d\u2019all\u00f2 vell reconvertit en nou. I del present transfigurat en un futur que mai va succeir com es pensava en pret\u00e8rit.<\/p>\n

Han passat diversos anys i, tot i que l’art sonor sembla una categoria r\u00e0ncia, vinguda a menys -pensant sobretot en exposicions com Lost in Sound<\/em> al CGAC o Proc\u00e9s S\u00f2nic al MACBA<\/em> <\/a> i al Centre George Pompidou, recordant amb certa enyoran\u00e7a festivals com Z\u00e8ppelin<\/em> al CCCB, invocant la rebel\u00b7lia perduda del techno i altres g\u00e8neres de m\u00fasica electr\u00f2nica en uns textos que ja no commouen un lector atent les orelles -l’experi\u00e8ncia i l’experimentaci\u00f3 sonores s\u00f3n alguna quelcom en el que, des de l’art -m\u00e9s des de la m\u00fasica-, es continua treballant. Per\u00f2 lluny queden l’elogi i les ovacions de fa m\u00e9s d’una d\u00e8cada, almenys les del context general de l’art contemporani.<\/p>\n

Serveixi com a exemple de la seva pres\u00e8ncia actual ‘11 Canciones para Anita’<\/em><\/a>, la presentaci\u00f3 de projectes finals dels alumnes del M\u00e0ster en Art Sonor de la Universitat de Barcelona. Repartits per diversos espais d’Hangar durant un dia, a manera de concert disseminat i per fraccions, 11 Canciones para Anita<\/em> per a alguns -els espectadors de l’altre costat del mirall, els de les q\u00fcestionablement anomenades arts visuals- funciona com una incursi\u00f3 en un territori, sin\u00f3 desconegut, un tant ignorat des d’unes corrents de pensament entorn a l’experi\u00e8ncia art\u00edstica que prioritzen l’enteniment per sobre de la visi\u00f3 i les seves possibles desviacions cap al fast d\u2019all\u00f2 espectacular.<\/p>\n

Succeeix amb l’art sonor, quan no s’\u00e9s especialista en m\u00fasica o certes q\u00fcestions t\u00e8cniques i tecnol\u00f2giques, que un se sent en un present continu. Que, com a espectadors intermitents practicant la tan sol\u00b7licitada inger\u00e8ncia, es pressent una certa reiteraci\u00f3 en les \u00bfformes? sonores i la seva experi\u00e8ncia -unida al ress\u00f2 manierista dels comen\u00e7aments- en diferents projectes i diferents artistes en diferents llocs i moments. Succeeix tamb\u00e9 que \u00e9s dif\u00edcil, sin\u00f3 impossible, fins i tot tancant literalment els ulls, escapar a l’autocr\u00e0cia de la vista o de l’enteniment, i un acaba sedu\u00eft per treballs com ‘You should be dancing<\/em>‘ de Felipe Vaz, una performance centrada en la distorsi\u00f3 per alentiment d’un hit<\/em> cinematogr\u00e0fic (la coreografia de John Travolta acompanyada per la m\u00fasica de Bee Gees). O per projectes que indueixen a una alteritat animal, com ‘A vuelo de p\u00e1jaro<\/em>‘ de Mauricio Iregui, on es construeix la possible percepci\u00f3 sonora d’un au sobrevolant la Rambla de Barcelona. Per\u00f2 succeeix a m\u00e9s que, sigui on sigui, en mat\u00e8ria d’art, sempre emergeix all\u00f2 vacil\u00b7lant de la terminologia i l’operativitat de l’etiquetatge est\u00e8tic, doncs qu\u00e8 distingeix una performance sonora d’un concert de m\u00fasica -discutiblement anomenada- experimental? Problem\u00e0tiques contextuals i altres dilemes intel\u00b7lectuals a part, aix\u00f2 que anomenem art sonor \u00e9s capa\u00e7 de generar estimulaci\u00f3 ac\u00fastica i certa clausura l’intel\u00b7lecte ocular. Encara que, tal com anem a veure<\/em> concerts, anem a veure<\/em> art sonor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Hi va haver un temps en qu\u00e8 el so es presentava (o millor dit, el presentaven alguns, uns quants, potser bastants, almenys els suficients com per crear un corrent) com…<\/p>\n","protected":false},"author":1273,"featured_media":7921,"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":"\nYou should be listening – 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\" 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