{"id":8093,"date":"2013-08-14T02:00:00","date_gmt":"2013-08-14T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/08\/14\/histories-de-guerra-i-pau-a-sant\/"},"modified":"2013-08-14T02:00:00","modified_gmt":"2013-08-14T02:00:00","slug":"histories-de-guerra-i-pau-a-sant","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/histories-de-guerra-i-pau-a-sant\/","title":{"rendered":"Hist\u00f2ries de guerra i pau a Sant Sebasti\u00e0"},"content":{"rendered":"

\"Decor-Salle-XX-sicle.jpg\"
\nSe li ha de l’historiador alemany Reinhart Koselleck la distinci\u00f3 entre hist\u00f2ria amb h min\u00fascula o amb H maj\u00fascula. No se li deu, per\u00f2, l’habitual recurs a multiplicar les visions un\u00edvoques de la hist\u00f2ria apel\u00b7lant a les m\u00faltiple(s) hist\u00f2ria(es). Podem acordar que tota hist\u00f2ria \u00e9s una construcci\u00f3 articulada de relats en cont\u00ednua successi\u00f3, aix\u00f2 \u00e9s, una suma d’interpretacions en disputa. Un dels dilemes de la postmodernitat es trobava en qu\u00e8 en desmuntar els anomenats “grans relats” (el primer la pr\u00f2pia noci\u00f3 d’Hist\u00f2ria), l’historiador es trobava amb qu\u00e8 fer amb totes aquelles peces soltes; donar sentit a qualsevol relat hist\u00f2ric \u00e9s de per si tota una empresa.<\/p>\n

Actualment coincideixen a Sant Sebasti\u00e0 dos projectes expositius paral\u00b7lels que basen el seu punt de partida en un fet hist\u00f2ric que ara se celebra: l’incendi, saqueig i posterior reconstrucci\u00f3 de la ciutat l\u2019any 1813. Aquell any, una ciutat de Sant Sebasti\u00e0 ocupada pels francesos va ser destru\u00efda per tropes angleses, espanyoles i portugueses. D’all\u00ed va n\u00e9ixer la ciutat tal i com la coneixem avui. Aquest esdeveniment \u00e9s el punt de partida per a Historia(s) incomparable(s). Himnos, callejones y astillas<\/em><\/a>, a cura d\u2019Haizea Barcenilla i Koldo Mitxelena, que reuneix una dotzena d’artistes internacionals interactuant amb l’efem\u00e8ride. Alex Reynolds, Lene Berg, Marine Hugonnier, Juan P\u00e9rez Agirregoikoa, Oriol Vilanova entre d’altres. El que resulta problem\u00e0tic aqu\u00ed \u00e9s la filiaci\u00f3 de l’art contemporani respecte un esdeveniment hist\u00f2ric tan puntual (o local) com l’esmentat. A l’actualitat, el comissariat construeix cadenes de pretextos a manera d’arguments. Els artistes, per la seva banda, han d\u2019estar negociant constantment perqu\u00e8 la seva obra no quedi a merc\u00e8s ni de la celebraci\u00f3 ni de l’an\u00e8cdota o la il\u00b7lustraci\u00f3.<\/p>\n

Aquesta problem\u00e0tica es troba tamb\u00e9 en l’altre esdeveniment anomenat \u2018Tratado de Paz\u2019 i que s’est\u00e9n per diferents seus de la ciutat (Museu San Telmo, Museu Naval, Casa de la Paz), aix\u00ed tamb\u00e9 en altres localitats, i que \u00e9s un projecte-far de Sant Sebasti\u00e0 Capital Europea de la Cultura 2016. Aquesta primera fase<\/a> es presenta a manera d\u2019”episodi” i est\u00e0 comissariada per Pedro G. Romero en col\u00b7laboraci\u00f3 amb BNV Producciones amb el t\u00edtol 1813. Setge, incendi i reconstrucci\u00f3 de Sant Sebasti\u00e0<\/em>. Es tracta d’una gran exposici\u00f3 on Pedro G. Romero sotmet (mai millor dit) una quantitat de material a la seva particular l\u00f2gica warburgiana<\/em>, on prevalen la juxtaposici\u00f3, la descontextualitzaci\u00f3, el desconcert, l’heterod\u00f2xia, la barreja de passat i present, l\u2019art i el no-art, etc. En comptes d’intentar una impossible narraci\u00f3 coherent, l’artista-comissari tendeix a la que \u00e9s una de les seves marques d\u2019identitat, \u00e9s a dir, operar des del desbordament, tant de les formes com del sentit. La dificultat de l\u2019abast de la totalitat (peces d’art a les que cal sumar innombrables documents, objectes d’\u00e8poca, material d’arxiu hist\u00f2ric, etc.) no s\u2019ha de confondre amb el caos i l’arbitrarietat. El seu m\u00e8tode \u00e9s sist\u00e8mic, pr\u00f2xim a la taxonomia. La confrontaci\u00f3 de materials dispars genera cert S\u00edndrome de Di\u00f2genes on l’espectador se les ha d’empescar com pugui. Cada objecte perd part de la seva autonomia al servei d’una narraci\u00f3 que l\u2019engloba.<\/p>\n

L’art contemporani compleix en aquest marc una funci\u00f3 bastarda, foradant el discurs com el cuc la poma. A aix\u00f2 cal sumar-li l’\u00e8mfasi posat en les formes contestat\u00e0ries de la Il\u00b7lustraci\u00f3, el caricaturisme del segle XIX, les formes d’art popular i com una pres\u00e8ncia obligada, Goya i els seus Desastres de la guerra<\/em>. La multiplicitat de significats de l’art serveix als prop\u00f2sits intencionals de Romero (qui a m\u00e9s obvia la distinci\u00f3 entre c\u00f2pia i original); aix\u00ed, i segons la seva l\u00f2gica, un nas de pallasso de ferro de Juan Luis Moraza enrogida per un foc incandescent b\u00e9 pot significar el setge de 1813.<\/p>\n

Aquest associacionisme d’idees aconsegueix la seva cota m\u00e0xima amb D\u00e9cor, A Conquest by Marcel Broodthaers<\/em>, instal\u00b7laci\u00f3 presentada a l’ICA de Londres l\u2019any 1975 i que girava al voltant de la batalla de Waterloo des de la perspectiva po\u00e8tica i cr\u00edtica t\u00edpica de l’artista belga. Ara ocupa un dels salons del Palau d’Aiete, batejat recentment com a ‘Casa de la Pau i dels Drets Humans’ i que \u00e9s escenari de l’actual Proc\u00e9s de Pau al Pa\u00eds Basc. L’art contemporani s’introdueix en la pol\u00edtica real executant potser l’arxiconeguda sent\u00e8ncia de Walter Benjamin, repetida fins a la sacietat, que tot document de cultura \u00e9s un document de barb\u00e0rie.
\n\"Decor-Salle-XIX-sicle.jpg\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Se li ha de l’historiador alemany Reinhart Koselleck la distinci\u00f3 entre hist\u00f2ria amb h min\u00fascula o amb H maj\u00fascula. No se li deu, per\u00f2, l’habitual recurs a multiplicar les visions…<\/p>\n","protected":false},"author":1261,"featured_media":8043,"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":"\nHist\u00f2ries de guerra i pau a Sant Sebasti\u00e0 – 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\/histories-de-guerra-i-pau-a-sant\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Hist\u00f2ries de guerra i pau a Sant Sebasti\u00e0 – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Se li ha de l’historiador alemany Reinhart Koselleck la distinci\u00f3 entre hist\u00f2ria amb h min\u00fascula o amb H maj\u00fascula. 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