{"id":7950,"date":"2013-07-11T02:00:00","date_gmt":"2013-07-11T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/07\/11\/obras-publicas-de-nicanor-parra-a\/"},"modified":"2013-07-11T02:00:00","modified_gmt":"2013-07-11T02:00:00","slug":"obras-publicas-de-nicanor-parra-a","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/obras-publicas-de-nicanor-parra-a\/","title":{"rendered":"“Obras p\u00fablicas” de Nicanor Parra – a la BNE"},"content":{"rendered":"

\"Nicanor_Parra_BNE.jpg\"
\nPublic Works<\/em> (Obres p\u00fabliques) era l’opci\u00f3 que Nicanor Parra (San Fabi\u00e1n de Alico, Xile, 1914) havia triat per un dels seus llibres inspirat en p\u00f2sters, r\u00e8tols i propagandes comercials per tal de mostrar que es podia dir alguna cosa m\u00e9s que el missatge publicitari. Com va comentar l\u2019any 1989 durant una entrevista realitzada per Ana Mar\u00eda Foxley: “Per primera vegada em vaig interessar l\u2019any 1945, per exemple quan vaig veure un r\u00e8tol que deia “Say it with flowers”, i a baix hi havia el tel\u00e8fon. A mi em va semblar una meravella”. Finalment, el llibre va ser titulat \u2018Proyecto Manhattan\u2019, nom que, com se sap, tamb\u00e9 va ser donat al projecte de la bomba at\u00f2mica. No obstant aix\u00f2, l’edici\u00f3, pensada per a dur-se a terme als Estats Units, tampoc no consta -almenys en tota la documentaci\u00f3 consultada- com una de les seves obres publicades.<\/p>\n

D’aquesta manera, amb aquests antecedents, l’exposici\u00f3 que pot veure\u2019s a la Biblioteca Nacional d’Espanya (BNE) i que porta per t\u00edtol, ara s\u00ed, “Obras p\u00fablicas”<\/a>, posseeix connotacions que van m\u00e9s enll\u00e0 de mostrar un recorregut panor\u00e0mic de l’obra de Parra. Comissariada per Ignacio Echevarr\u00eda -i organitzada per la BNE, la Fundaci\u00f3n Aqualogy, la Pontificia Universitat Cat\u00f2lica de Xile i Aguas Andinas, S.A. Dividida-, la mostra del Premi Cervantes 2011 est\u00e0 centrada en el visitant no coneixedor de l’obra de Nicanor Parra i es divideix en set seccions audiovisuals: \u2018El llarg cam\u00ed cap a la antipoesia\u2019; \u2018La muntanya russa\u2019; \u2018L’esclat de l\u2019antipoema\u2019; \u2018Poesia i antipoesia\u2019; \u2018F\u00edsica i antipoesia\u2019; \u2018La m\u00e0scara de l\u2019antipoeta\u2019 i, finalment, \u2018Religi\u00f3 i mort\u2019.<\/p>\n

Home de ci\u00e8ncia, f\u00edsic i matem\u00e0tic, Nicanor Parra se serveix de les paraules per reordenar un m\u00f3n fragmentari del qual va ser conscient per primera vegada durant les seves estades a Anglaterra i Estats Units, lluny de la tradici\u00f3 i els valors de la veu de la seva mare, Clara Sandoval, a la qual l’exposici\u00f3 dedica un lloc destacat. A cavall entre dos m\u00f3ns \u2013\u201cJo vaig arribar a Anglaterra, vaig arribar a Oxford i vaig percebre alguna cosa en l’atmosfera, vaig sentir dos tipus de forces. Percebia per una banda a Shakespeare i per una altra a Newton\u201d, va dir en una entrevista l\u2019any 2001 a Manuel Jofr\u00e9-, Parra aplica el sentit com\u00fa a les seves creacions, el que el porta a “atacar” la poesia per fer poesia: \u201cLA \/ POESIA \/ MORIR\u00c0 \/ SI NO \/ SE L\u2019 \/ OF\u00c8N \/ cal \/ posseir-la \/ i humiliar-la en p\u00fablic \/ despr\u00e9s es veur\u00e0 \/ el que es fa\u201d (Artefactos, 1973). Sorgeix aix\u00ed l\u2019anti-poesia, s\u00edntesi de la contradicci\u00f3 que mostra les paradoxes de la vida quotidiana mitjan\u00e7ant la interpretaci\u00f3 del seu llenguatge tret fora de context. Llenguatge pla, clar, sense artificis, que arriba al capdavant a trav\u00e9s del cor: “Que el poeta no \u00e9s un alquimista \/ El poeta \u00e9s un home com tots \/ Un paleta que construeix el seu mur:
\n\/ Un constructor de portes i finestres. \/ Nosaltres vam conversar \/ En el llenguatge de tots els dies \/ No creiem en signes cabal\u00edstics” (Obra gruesa, 1969). L\u2019anti-poema no pren partit per res ni ning\u00fa, \u00e9s la seva naturalesa ser subversiu, ir\u00f2nic i sobretot antiheroi.<\/p>\n

M\u00e9s enll\u00e0 de l\u2019anti-poesia, l’exposici\u00f3 ens parla dels anomenats ‘Treballs pr\u00e0ctics’, grup de 39 objectes de rebuig amb llegendes en paper. Obres sovint equivocadament confoses amb el que coneixem per “poesia visual”, en qu\u00e8 la forma t\u00e9 un paper decisiu davant el text. Els \u2018Trabajos Pr\u00e1cticos\u2019 de Parra treballen amb<\/em> i per a<\/em> la poesia, si b\u00e9 no pot negar-se un fil com\u00fa -l’exploraci\u00f3 de les fronteres interdisciplin\u00e0ries- entre totes dues. Pertanyen tamb\u00e9 a aquesta recerca de la superaci\u00f3 del llibre obres com les ‘Tablitas de Isla Negra’ (1976), 90 trossos de fusta de rebuig amb dibuixos a bol\u00edgraf, i les ‘Bandejitas de La Reina’, 80 safates de cartr\u00f3 amb dibuixos i frases a ploma.<\/p>\n

No vull acabar sense parlar d’una altra de les obres que es pot veure en aquesta mostra. Es tracta de ‘El quebrantahuesos’, peri\u00f2dic mural de l’any 1951 i que es descriu com un treball de poesia visual elaborada amb retalls de premsa. Estant davant d’ell no vaig poder evitar recordar a William S. Burroughs i els passatges del seu llibre \u2018La revoluci\u00f3 electr\u00f2nica\u2019, en qu\u00e8 parla d’un m\u00f3n irreal per\u00f2 alhora real perqu\u00e8 est\u00e0 succeint i \u00e9s possible gr\u00e0cies al “balboteig” de la premsa di\u00e0ria. Davant d’aquesta manipulaci\u00f3 fragmentada, Burroughs proposa una premsa clandestina que mitjan\u00e7ant la t\u00e8cnica del cut up<\/em> (retallada) la contraresti. Se sap que els escriptors de la generaci\u00f3 beat<\/em>, a la qual Burroughs va pert\u00e0nyer per temps i espai, admiraven l’obra de Parra, i at\u00e8s que ‘La revoluci\u00f3 electr\u00f2nica’ va ser publicada l\u2019any 1970, les conclusions que d’aix\u00f2 en podem deduir s\u00f3n dispars per\u00f2 tamb\u00e9 predictibles. El que s\u00ed podem atrevir-nos a proposar \u00e9s que el seu diari mural va m\u00e9s enll\u00e0 de la poesia visual en re-nomenar i alliberar el m\u00f3n.<\/p>\n","protected":false},"excerpt":{"rendered":"

Public Works (Obres p\u00fabliques) era l’opci\u00f3 que Nicanor Parra (San Fabi\u00e1n de Alico, Xile, 1914) havia triat per un dels seus llibres inspirat en p\u00f2sters, r\u00e8tols i propagandes comercials per…<\/p>\n","protected":false},"author":1284,"featured_media":7929,"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":"\n"Obras p\u00fablicas" de Nicanor Parra - a la BNE – 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\/obras-publicas-de-nicanor-parra-a\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Obras p\u00fablicas" de Nicanor Parra - a la BNE – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Public Works (Obres p\u00fabliques) era l’opci\u00f3 que Nicanor Parra (San Fabi\u00e1n de Alico, Xile, 1914) havia triat per un dels seus llibres inspirat en p\u00f2sters, r\u00e8tols i propagandes comercials per...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/obras-publicas-de-nicanor-parra-a\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2013-07-11T02:00:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/07\/Nicanor_Parra_BNE.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"670\" \/>\n\t<meta property=\"og:image:height\" content=\"370\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Susana G. 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