{"id":8216,"date":"2013-10-02T02:00:00","date_gmt":"2013-10-02T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/10\/02\/diuen-que-la-nostalgia-es-la\/"},"modified":"2013-10-02T02:00:00","modified_gmt":"2013-10-02T02:00:00","slug":"diuen-que-la-nostalgia-es-la","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/diuen-que-la-nostalgia-es-la\/","title":{"rendered":"Diuen que la nost\u00e0lgia \u00e9s la tristesa que s’alleugera. Graham Gussin al CGAC"},"content":{"rendered":"

\"Graham
\nEn les escasses ocasions en qu\u00e8 Graham Gussin (Londres, 1960) ha exposat a la pen\u00ednsula, David G. Torres i Miguel von Haffe han estat sempre pel mig. La seva primera incursi\u00f3 es va produir l\u2019any 2004, amb una exposici\u00f3 al Centre d’ Arts Santa M\u00f2nica i la participaci\u00f3 a la 28 Biennal de Pontevedra.<\/p>\n

Ara s’ha colat a la festa del vint\u00e8 aniversari del CGAC amb CLEARBLUESKYDEEPDARKWATER<\/a><\/em>, la primera mostra antol\u00f2gica de Gussin a Espanya, que ocupa la primera planta i el doble espai del centre i conviu amb les individuals de Ricardo Basbaum i Victor Grippo. Gens malament per a un centre que acusa, com la resta, els efectes demolidors de la crisi. Potser una oferta cr\u00edptica en exc\u00e9s per a un p\u00fablic en molts casos no iniciat en el laber\u00edntic m\u00f3n de l’art contemporani.<\/p>\n

Anem per parts; la informaci\u00f3 a la qual un pot accedir quan se li presenta la tasca d’escriure sobre aquest artista no \u00e9s per tirar coets, ni el text que el CGAC ha preparat per al full de sala ni una r\u00e0pida recerca per internet ens treuen del carrer\u00f3 sense sortida al que la pr\u00f2pia mostra ens empeny. No obstant aix\u00f2, nom\u00e9s cal pensar en alguns casos que han deixat a priori una sensaci\u00f3 semblant per\u00f2 que despr\u00e9s d\u2019aprofundir s’han revelat com alguns de les m\u00e9s interessants del seu moment. Heimo Zobernig al \u201cPalacio de Cristal\u201d o Hans-Peter Feldmann al MNCARS, dues exposicions que malgrat deixar-nos aquesta cara de -intenta donar la impressi\u00f3 que ho entens tot i dissimula la cara de p\u00f2quer que realment se t’est\u00e0 quedant<\/em>-, ens han commogut com poques vegades aquest circ ho ha fet.<\/p>\n

Amb Graham Gussin corres el risc de semblar idiota, per\u00f2 a poc a poc les obres que es reparteixen per les sales, sense connexi\u00f3 aparent, comencen a esbossar en el teu rostre un somriure de complicitat amb el propi artista. S\u00f3n gestos que semblen generar un calaix de sastre en qu\u00e8 tot s\u2019hi val, per\u00f2 en el qual tot est\u00e0 perfectament mesurat.<\/p>\n

Accedim creuant una cortina de pl\u00e0stic, com si ens endins\u00e9ssim en una experi\u00e8ncia astral, com si creu\u00e9ssim la porta de l’escorxador. Ara, tres grans poliedres que recorden al que Albert Durero inclou en el seu gravat Melancon\u00eda I<\/em> envaeixen l’espai, des-fragmentant-se i oferint una visi\u00f3 del seu interior. Com m\u00f2duls en transformaci\u00f3 que permeten accedir a l’enigma que ha suposat l’aportaci\u00f3 de Durero i la ombra del qual sobrevola per damunt del conjunt de l’exposici\u00f3. No obstant aix\u00f2, a la sobrietat que podria requerir aquesta reflexi\u00f3, Gussin ha afegit un gran fons de paper pintat, una s\u00e8rie de carpetes de discos de vinil de bandes sonores de ci\u00e8ncia ficci\u00f3 que giren com els rotoreliefs<\/em> de Duchamp o uns l\u00e0nguids grafits que exigeixen ser observats des d’un punt concret de la sala per a poder desxifrar el que amaguen. El missatge \u00e9s concret com el lloc des del qual ha de ser desvetllat. No entenem res. Comprenem simplement l\u2019as\u00e8ptic de l’espai, aquesta idea de decorat despersonalitzat que ja trob\u00e0vem l\u2019any 2004 a Shift<\/em>, la seva intervenci\u00f3 a la Biennal de Pontevedra.<\/p>\n

Les constants al\u00b7lusions a la hist\u00f2ria de l’art es produeixen des d’un camp tan lluny\u00e0 que l’espectador sent com un escafandre un cos que s’interposa entre l’emissor i el receptor. Presenta Enrique Vila-Matas a Am\u00e9 a Bo<\/em> una exploraci\u00f3 de l’abisme, el viatge cap enlloc d’un inquil\u00ed espacial que observa des de la seva nau BAW775 un firmament del que \u00e9s un mer espectador. Fa pensar si m\u00e9s no.<\/p>\n

La primera sala d\u00f3na pas a una triple projecci\u00f3 amb v\u00eddeos que agrupen els treballs de Gussin entre el 2005 i el 2013. Silver Form<\/em> d\u00f3na continu\u00eftat a aquest car\u00e0cter hipn\u00f2tic que inunda l’exposici\u00f3, amb gestos que caminen sobre la fina l\u00ednia que separa all\u00f2 transcendental de l’anecd\u00f2tic. <\/p>\n

Dark corner<\/em>, un rac\u00f3 de la sala pintada de negre torna a parlar de Duchamp, o d’Isaac Asimov. Una fuita de l’espai expositiu o un monticle de Venus que concentra la for\u00e7a d’un tercer espai que sembla desmanegat fins que a poc a poc desgranem cadascuna de les seves peces. News From Nowhere<\/em> \u00e9s la instal\u00b7laci\u00f3 que ocupa i distribueix al centre de la sala, un caramel per a l’espectador \u00e0vid de souvenirs que resta for\u00e7a a altres peces de menys grand\u00e0ria. No obstant aix\u00f2, aquestes comencen a apar\u00e8ixer una per una, com picades d\u2019ullet que ens sedueixen i que ens porten a guaitar en el doble espai en el qual descobrim 199 canicas de cristal negras desperdigadas por el suelo movi\u00e9ndose con total libertad por el espacio y deposit\u00e1ndose en cualquier lugar y durante un per\u00edodo de tiempo indeterminado, una por cada car\u00e1cter y por cada espacio del t\u00edtulo<\/em>. <\/p>\n

Diu tamb\u00e9 Vila-Matas que diuen que la nost\u00e0lgia \u00e9s la tristesa que s’alleugereix.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

En les escasses ocasions en qu\u00e8 Graham Gussin (Londres, 1960) ha exposat a la pen\u00ednsula, David G. Torres i Miguel von Haffe han estat sempre pel mig. La seva primera…<\/p>\n","protected":false},"author":1268,"featured_media":8205,"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":"\nDiuen que la nost\u00e0lgia \u00e9s la tristesa que s'alleugera. 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