{"id":8094,"date":"2013-08-15T02:00:00","date_gmt":"2013-08-15T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/08\/15\/arxiu-l-academia-dels-covards-a\/"},"modified":"2013-08-15T02:00:00","modified_gmt":"2013-08-15T02:00:00","slug":"arxiu-l-academia-dels-covards-a","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/arxiu-l-academia-dels-covards-a\/","title":{"rendered":"Arxiu: &#8220;L&#8217;acad\u00e8mia dels covards: A prop\u00f2sit d&#8217;Anthony Blunt&#8221;"},"content":{"rendered":"<p>Lectures d&#8217;estiu? La biografia d&#8217;Anthony Blunt \u00e9s una bona idea. Recuperem un article a prop\u00f2sit de l&#8217;historiador angl\u00e8s i la biografia que sobre ell va escriure Miranda Carter. I \u00e9s que, actualitzada i revisada, la idea de l&#8217;Institut Courtauld que va fundar Anthony Blunt com un lloc d&#8217;estudi, trobada i debat a trav\u00e9s de publicacions o seminaris t\u00e9 molt a veure amb les intencions d&#8217;A*DESK. Aix\u00f2 de l&#8217;espionatge no ho confessarem encara.<\/p>\n<p><a href=\" http:\/\/www.a-desk.org\/spip\/spip.php?article371\">&#8220;L&#8217;acad\u00e8mia dels covards&#8221;: A prop\u00f2sit d&#8217;Anthony Blunt&#8221;, de DAVID G. TORRES va ser publicat el 14-09-09 <\/a><\/p>\n<p>. <\/p>\n<p><img decoding=\"async\" class=\" alignleft size-full wp-image-8032\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/08\/arton371-ce3df.jpg\" alt=\"arton371-ce3df.jpg\" align=\"left\" width=\"298\" height=\"187\" \/> Acostumats a sentir els noms de Rosalind E. Krauss o Hal Foster com les grans refer\u00e8ncies de la cr\u00edtica, em sembla detectar que en els \u00faltims temps n\u2019estan apareixent d\u2019altres. Refer\u00e8ncies que sonen a temps d&#8217;estudis sobre art Barroc i el Renaixement: Rudolf Wittkower, Erwin Panofsky, Ernst Gombrich, Pierre Francastel i, sobretot, la figura de refer\u00e8ncia per a tots ells, Aby Warburg (sobre el qual el Reina Sofia anuncia una exposici\u00f3 per al 2010). Cosa que implicaria un canvi de context: de la cr\u00edtica americana hereva del formalisme de Greenberg, a les arrels de la historiografia europea; tamb\u00e9 la recuperaci\u00f3 de l&#8217;inter\u00e8s en la relaci\u00f3 de l&#8217;art i la societat, i finalment d&#8217;una relliscada cap a la recuperaci\u00f3 de la hist\u00f2ria de l&#8217;art com a disciplina. Tampoc \u00e9s casual que aquestes recuperacions coincideixin amb la crisi del model que representava el comissari estrella i la proliferaci\u00f3 de biennals, ni amb aquest moviment de les pr\u00f2pies biennals a voler semblar un museu, ni amb el focus que els museus han girat per a il\u00b7luminar la col\u00b7lecci\u00f3 i la seva articulaci\u00f3 amb les exposicions temporals.<\/p>\n<p>Fa uns anys va apar\u00e8ixer la biografia d&#8217;un d&#8217;aquests hereus d&#8217;Aby Warburg, dels quals hav\u00edem llegit a la Universitat i, sens dubte, el m\u00e9s conegut dels historiadors de l&#8217;art: Anthony Blunt. Tot i que aquest coneixement p\u00fablic general de la figura d&#8217;Anthony Blunt no sigui deguda tant a la hist\u00f2ria de l&#8217;art i a la seva tasca com a historiador, sin\u00f3 a un fet molt proper a John LeCarr\u00e9: va ser el &#8220;quart home&#8221; del grup d&#8217;espies de Cambridge, amb Donald Maclean, Guy Burgess, John Cairncross i Kim Philby. Durant la Segona Guerra Mundial i la Guerra Freda va compaginar la seva tasca com a historiador de l&#8217;art amb l&#8217;espionatge, passant informaci\u00f3 de l&#8217;MI5 i MI6 angl\u00e8s, per als quals treballava, als sovi\u00e8tics. Una activitat que va mantenir en secret fins que l\u2019any 1979 Margaret Thacher va revelar la identitat de Blunt com el quart home de Cambridge. No \u00e9s sorprenent aleshores l&#8217;aura que la seva figura desprenia a finals dels anys vuitanta, en plena caiguda del mur de Berl\u00edn, acompanyat per l&#8217;enfonsament de la URSS i la p\u00e8rdua del referent del socialisme real: l&#8217;historiador que posava el focus sobre Borromini, Poussin, del que lleg\u00edem &#8220;Art i arquitectura a Fran\u00e7a entre 1500 i 1700&#8221; i l&#8217;espia, el talp, el que portava el seu comprom\u00eds a un pla real. Estudiar a Borromini i llegir a LeCarr\u00e9 eren activitats compatibles.<\/p>\n<p>La biografia que Miranda Carter va publicar l\u2019any 2001 sobre Anthony Blunt \u00e9s meticulosa i documentada per\u00f2, sobretot, s&#8217;acomiada de l&#8217;espia i recupera l&#8217;historiador de l&#8217;art comprom\u00e8s. Un comprom\u00eds que es mostra real i necessari en l&#8217;ambient universitari pre-b\u00e8l\u00b7lic i post-b\u00e8l\u00b7lic angl\u00e8s, en qu\u00e8 el somni per una societat igualit\u00e0ria es barreja amb la persecuci\u00f3 a l&#8217;homosexualitat i amb els enfocaments materialistes i marxistes que s&#8217;obrien en la historiografia de l&#8217;art des dels ensenyaments d&#8217;Aby Warburg. I un comprom\u00eds sobre el qual sempre conv\u00e9 repensar: davant la p\u00e8rdua de refer\u00e8ncies ideol\u00f2giques o davant el perill d&#8217;una entrada de neo-conservadorisme que sempre porten amb s\u00ed les \u00e8poques de crisi. Per\u00f2 que, de manera molt m\u00e9s prosaica, tamb\u00e9 ens il\u00b7lumina de cara a pensar com ens enfrontem a les refer\u00e8ncies, com valorem el treball dels altres. En aquest sentit Miranda Carter il\u00b7lumina un dels episodis m\u00e9s tristos en la vida d&#8217;Anthony Blunt. Un cop destapades a finals dels setanta les seves activitats com a espia, les reaccions de la comunitat art\u00edstica no s\u00f3n precisament exemplars. S\u2019encadenen totes les enveges, pors, voluntats per simpatitzar amb els poders f\u00e0ctics i fins i tot una homof\u00f2bia latent. En aquest context hostil, el treball realitzat deixa de valdre res. Reaccionant a l&#8217;assetjament medi\u00e0tic, s&#8217;exigeix la dimissi\u00f3 o directament s&#8217;expulsa Anthony Blunt de tots els organismes relacionats amb la seva pr\u00e0ctica acad\u00e8mica.<\/p>\n<p>Entre mig, entre l&#8217;acad\u00e8mic esquerr\u00e0 homosexual comprom\u00e8s amb la Uni\u00f3 Sovi\u00e8tica i el vell historiador de l&#8217;art repudiat i esborrat per les seves antigues activitats d&#8217;espionatge, queda retratat no nom\u00e9s un estudi\u00f3s dedicat a Poussin, sin\u00f3 sobretot el professor i l&#8217;instigador del Courtauld Institute of Art, del qual va ser director durant bona part de la seva vida. Amb la mirada posada en el passat, el Courtauld Institute va ser el lloc de formaci\u00f3 per a diverses generacions d&#8217;historiadors i cr\u00edtics d&#8217;art a Anglaterra; va establir les bases d&#8217;una pr\u00e0ctica d&#8217;estudis sobre art que pr\u00e0cticament no existien a les universitats brit\u00e0niques, i fundava un model de seminaris i de din\u00e0miques d&#8217;estudis que obrien les portes a la investigaci\u00f3 i a un treball real (per intens, no per material) en art.<\/p>\n<p>En pensar en una possible recuperaci\u00f3 de la hist\u00f2ria de l&#8217;art enfront dels models de la cr\u00edtica post-formalista i abans que els seus protagonistes siguin introdu\u00efts en el \u201cname-dropping\u201d dels models institucionals, caldria comen\u00e7ar a mirar les modalitats de treball, d\u2019ensenyament, de transmissi\u00f3 i foment del coneixement que implicaven institucions com el Courtauld Institute of Art. Implicaria recobrar el valor del que s&#8217;ha fet i del que s&#8217;ha dit per sobre del lloc que s&#8217;ocupa, de l&#8217;autoria per damunt de l&#8217;autoritat.<\/p>\n<p>&#8220;L&#8217;acad\u00e8mia dels covards&#8221; va ser el titular que va dedicar el Daily Mail als membres de la British Academy despr\u00e9s de decidir, despr\u00e9s de no poques disputes, desestimar l&#8217;expulsi\u00f3 d&#8217;Anthony Blunt despr\u00e9s de descobrir-se que havia estat espia.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lectures d&#8217;estiu? La biografia d&#8217;Anthony Blunt \u00e9s una bona idea. Recuperem un article a prop\u00f2sit de l&#8217;historiador angl\u00e8s i la biografia que sobre ell va escriure Miranda Carter. I \u00e9s&#8230;<\/p>\n","protected":false},"author":1241,"featured_media":8032,"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":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Arxiu: &quot;L&#039;acad\u00e8mia dels covards: A prop\u00f2sit d&#039;Anthony Blunt&quot; &#8211; 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\/arxiu-l-academia-dels-covards-a\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arxiu: &quot;L&#039;acad\u00e8mia dels covards: A prop\u00f2sit d&#039;Anthony Blunt&quot; &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"Lectures d&#8217;estiu? 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