{"id":8209,"date":"2013-09-25T02:00:00","date_gmt":"2013-09-25T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/09\/25\/han-llegit-els-jutges-de-la\/"},"modified":"2013-09-25T02:00:00","modified_gmt":"2013-09-25T02:00:00","slug":"han-llegit-els-jutges-de-la","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/han-llegit-els-jutges-de-la\/","title":{"rendered":"Han llegit els jutges de la Biennal de Ven\u00e8cia massa teoria postcolonial?"},"content":{"rendered":"<p><img decoding=\"async\" class=\" alignleft size-full wp-image-8167\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7.jpg\" alt=\"Padiglione-Angola-7.jpg\" align=\"left\" width=\"670\" height=\"447\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7-595x397.jpg 595w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/><br \/>\nEstiu de 2013. Per estrany que sembli, ning\u00fa esmenta el nom de Sindika Dokolo entre les raons que podrien haver inclinat la balan\u00e7a del jurat de la 55a Biennal de Ven\u00e8cia en favor d&#8217;Angola, tot i que Dokolo sigui un dels principals defensors del pavell\u00f3 nacional premiat amb el Lle\u00f3 d&#8217;Or i a m\u00e9s tingui diversos esc\u00e0ndols relacionats amb la ciutat i amb el m\u00f3n sencer. La cosa ve de fam\u00edlia: casat amb la filla del president d&#8217;Angola des de 1979, el seu pare \u00e9s un jerarca congol\u00e8s, fundador del <em>Banc de Kinshash<\/em>, sota la dictadura de Mobutu Sese Seko, que fins l\u2019any 1986 va estar embutxacant als seus familiars fins a 80 milions de d\u00f2lars dirigits des de les finances estatals. Al 2007, quan Dokolo va exposar la seva col\u00b7lecci\u00f3 privada a la Biennal sota la coartada de fer visible \u201cla mirada del continent afric\u00e0\u201d, la premsa va recordar el fosc passat d&#8217;aquest punt de vista, clarament olig\u00e0rquic, enriquit amb el tr\u00e0fic de diamants. Al 2013, per\u00f2, els conspiranoics estan poc desperts.<\/p>\n<p>El pavell\u00f3 d&#8217;Angola est\u00e0 situat en una mansi\u00f3 veneciana oberta des de 1981. Cont\u00e9 en el seu interior una col\u00b7lecci\u00f3 renaixentista francament impressionant per ser quelcom privat i oblidat, a joc amb les cortines. En comptes de retirar els Beato Angelico, els Piero della Francesca, els Ercole de Roberti i els Cosm\u00e8 Tura, el comissari angol\u00e8s va decidir exposar sobre (i en di\u00e0leg amb) la tradici\u00f3 occidental. Ignorem si la decisi\u00f3 del jurat respon a la confusa mostra resultant. Potser estan premiant sense voler el Renaixement? El fet \u00e9s que aquest any est\u00e0 marcant tend\u00e8ncia pel fet d\u2019exposar en recintes naturals que poden arribar a eclipsar la qualitat est\u00e8tica dels artistes actuals; sobretot si sota la pretensi\u00f3 d&#8217;establir una reflexi\u00f3 sobre el context expositiu es troben unes quantes fotografies copiades de MySpace. Aquesta \u00e9s la descripci\u00f3 m\u00e9s ajustada que puc fer del producte ofert a les primeres estances del pavell\u00f3, on l&#8217;espectador pot adquirir per un m\u00f2dic preu una bateria de p\u00f2sters on figura mobiliari atrotinat davant de parets escrostonades. O sigui, captures <em>hipsters<\/em> fetes amb molt d&#8217;amor des d&#8217;Angola.<\/p>\n<p>Figues d\u2019un altre paner \u00e9s el trobem a la segona planta. Una caricatura de les avantguardes hist\u00f2riques. Com si estigu\u00e9ssim caminant per una exposici\u00f3 retrospectiva amb motiu del 100 aniversari del moviment cubista, els motius at\u00e0vics se succeeixen amb rapidesa sobre unes pintures la figuraci\u00f3 geom\u00e8trica <em>d&#8217;alguna cosa ens sona<\/em>. De no ser per les cartel\u00b7les explicatives, un diria que el comissari proposa un <em>qui \u00e9s qui<\/em> del m\u00f3n de l&#8217;art. No a debades, tots els artistes angolesos tenen traces d&#8217;algun artista occidental. Com en el cercle vici\u00f3s de l&#8217;ou i la gallina, podem preguntar qui va primer, si Paul Jazz o Henri Matisse, si Jorge Gumbe o Roberto Mata, si Antonio Ole o Paul Klee, si Vietix o Joan Mir\u00f3, si Guilherme Mampwya o Max Ernst; perqu\u00e8 les obres de tots ells s\u00f3n clavades. Tamb\u00e9 se\u2019n troben al pavell\u00f3 angol\u00e8s com Hildebrand de Melo, que nom\u00e9s s&#8217;assembla a si mateix; tal \u00e9s el desprop\u00f2sit que exhibeixen. Per\u00f2 el com\u00fa entre els artistes premiats ve a ser imitar gent blanca morta. Aix\u00ed fan amb gran mestria Zan i Cesta Andrade, adobant-se a Yves Tanguy i a Cy Twombly, respectivament. I aix\u00ed fins entelar algunes peces bastant potables, com l\u2019 <em>Elogi de Nkisi Nkondo<\/em> (2004) d&#8217;un tal Van, que queden eclipsades per la mediocritat circumdant, salvant les composicions religioses clivellades del Renaixement.  En suma, creacions art\u00edstiques de dubt\u00f3s inter\u00e8s est\u00e8tic emparades per inquietants personatges angolesos enriquits mitjan\u00e7ant un tr\u00e0fic de mat\u00e8ries primeres que dessagna els mateixos de sempre.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Estiu de 2013. Per estrany que sembli, ning\u00fa esmenta el nom de Sindika Dokolo entre les raons que podrien haver inclinat la balan\u00e7a del jurat de la 55a Biennal de&#8230;<\/p>\n","protected":false},"author":1297,"featured_media":8167,"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>Han llegit els jutges de la Biennal de Ven\u00e8cia massa teoria postcolonial? &#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\/magazine\/han-leido-los-jueces-de-la-bienal\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Han llegit els jutges de la Biennal de Ven\u00e8cia massa teoria postcolonial? &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"Estiu de 2013. Per estrany que sembli, ning\u00fa esmenta el nom de Sindika Dokolo entre les raons que podrien haver inclinat la balan\u00e7a del jurat de la 55a Biennal de...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2013-09-25T02:00:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"670\" \/>\n\t<meta property=\"og:image:height\" content=\"447\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Ernesto Castro\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ernesto Castro\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Ernesto Castro\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/\",\"url\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/\",\"name\":\"Han llegit els jutges de la Biennal de Ven\u00e8cia massa teoria postcolonial? &#8211; A*Desk\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7.jpg\",\"datePublished\":\"2013-09-25T02:00:00+00:00\",\"dateModified\":\"2013-09-25T02:00:00+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/2521411e38f462394563b251d8849074\"},\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/09\/Padiglione-Angola-7.jpg\",\"width\":670,\"height\":447,\"caption\":\"Padiglione-Angola-7.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/magazine\/han-leido-los-jueces-de-la-bienal\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Han llegit els jutges de la Biennal de Ven\u00e8cia massa teoria postcolonial?\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/2521411e38f462394563b251d8849074\",\"name\":\"Ernesto Castro\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/1989a4185c1da02880ee8dec1cae421d\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a80404f6395f11409f524ce39eacc1a0?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a80404f6395f11409f524ce39eacc1a0?s=96&d=mm&r=g\",\"caption\":\"Ernesto Castro\"},\"description\":\"Ernesto Castro (1990) es un truh\u00e1n, es un se\u00f1or. 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