{"id":8261,"date":"2013-10-07T02:00:00","date_gmt":"2013-10-07T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/10\/07\/zones-fosques-a-suecia-entrevista\/"},"modified":"2013-10-07T02:00:00","modified_gmt":"2013-10-07T02:00:00","slug":"zones-fosques-a-suecia-entrevista","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/zones-fosques-a-suecia-entrevista\/","title":{"rendered":"Zones fosques a Su\u00e8cia. Entrevista a N\u00faria G\u00fcell"},"content":{"rendered":"

\"GIBCA-Art
\nMart\u00ed Manen (MM): Participes en la biennal de G\u00f6teborg amb una proposta en qu\u00e8 poses en joc la necessitat d’amagar-se davant les lleis d’immigraci\u00f3. Com ha estat el proc\u00e9s per trobar una immigrant que volgu\u00e9s jugar a fet i amagar amb els espectadors d’una biennal?<\/strong><\/p>\n

N\u00faria G\u00fcell (NG): Quan treballo en un context diferent al meu, el primer pas sempre consisteix a localitzar algun col\u00b7lectiu local af\u00ed i actiu en relaci\u00f3 a la mat\u00e8ria d’investigaci\u00f3 del projecte. En aquest cas vaig contactar amb un grup de metges i advocats que s’han unit per denunciar els abusos de les pol\u00edtiques migrat\u00f2ries i assessorar els migrants il\u00b7legalitzats. La seva implicaci\u00f3 va ser clau perqu\u00e8 el projecte es pogu\u00e9s realitzar ja que em van ajudar a investigar les lleis i a trobar el buit legal per teixir l’estrat\u00e8gia del projecte. Ells van ser els que em van posar en contacte amb la Maria, una refugiada de Kosovo a la qual el govern suec ha denegat dues vegades l’asil. La coneixien personalment i sabien que a m\u00e9s de tenir la situaci\u00f3 legal id\u00f2nia per participar en el projecte, \u00e9s una dona molt forta que t\u00e9 la voluntat de denunciar els abusos que ella, la seva fam\u00edlia i tants altres migrants estan patint arran de la llei d’estrangeria. \u00c9s clau per a un projecte d’aquestes caracter\u00edstiques: m\u00e9s enll\u00e0 que el col\u00b7laborador vulgui un sou i li interessi la feina amb l’objectiu de regularitzar la seva situaci\u00f3, ha de tenir una voluntat militant que li permeti entendre un treball, que a priori pot semblar deshonr\u00f3s, com una eina efica\u00e7 de lluita que per moments altera les relacions entre dominants i dominats, quelcom com exercir una contra-viol\u00e8ncia simb\u00f2lica al p\u00fablic, que tamb\u00e9 s\u00f3n els que voten als pol\u00edtics que apliquen o no apliquen aquestes lleis.<\/p>\n

MM: \u00c9s una performance?<\/strong><\/p>\n

NG : Gaireb\u00e9 mai em sento c\u00f2moda amb el concepte performance per descriure els meus projectes ja que ho relaciono amb l\u2019\u00e0mbit esc\u00e8nic. La performance tradicional implica p\u00fablic conscient d’estar vivint una acci\u00f3 art\u00edstica i transcorre en un lloc i un temps delimitat. En les meves accions no sol haver-hi un p\u00fablic com a tal, el que hi ha \u00e9s gent que es relaciona amb el projecte, per\u00f2 moltes vegades sense ser conscients que formen part d’un projecte art\u00edstic; ho viuen com un succ\u00e9s m\u00e9s del seu dia a dia. No s\u00e9 quina seria la terminologia adequada per\u00f2 entenc els meus projectes com hist\u00f2ries de vida, com assumir un gui\u00f3, que no un paper, i viure-ho durant un per\u00edode de temps. Gaireb\u00e9 tots els projectes modifiquen la meva vida real i tenen conseq\u00fc\u00e8ncies sobre ella, en canvi, la performance est\u00e0 m\u00e9s relacionada amb la representaci\u00f3 que amb el real.<\/p>\n

MM: La biennal de G\u00f6teborg \u00e9s la m\u00e9s important de Su\u00e8cia. I tot i que aquesta vegada compta amb la pres\u00e8ncia de diversos artistes espanyols (N\u00faria G\u00fcell, Fernando S\u00e1nchez Castillo i Jorge Galindo & Santiago Serra), no veig cap logotip institucional espanyol per cap banda.<\/strong><\/p>\n

NG: Fa poc vaig coincidir en unes jornades amb Fernando S\u00e1nchez Castillo i explicava com cada vegada sent que t\u00e9 menys c\u00f2mplices institucionals. \u00c9s una sensaci\u00f3 que comparteixo des de fa un any m\u00e9s o menys. I per desgr\u00e0cia no crec que tingui a veure amb la crisi econ\u00f2mica, sin\u00f3 amb un gir ideol\u00f2gic ultra conservador que ve marcat pel Govern central i que \u00e9s reprodu\u00eft pels diferents treballadors de les institucions que en depenen. El perqu\u00e8 el reprodueixen \u00e9s un altre tema, en alguns casos hi deu haver afinitat ideol\u00f2gica per\u00f2 crec que en moltes ocasions el que hi ha \u00e9s por, i per suposat una falta de comprom\u00eds amb la cultura i un descr\u00e8dit del paper que pot jugar l’art en la societat. En el cas concret de la Biennal de G\u00f6teborg, l’abs\u00e8ncia de suport institucional per part del govern espanyol, i degut als treballs que hem presentat els tres, no m’estranyaria que tingu\u00e9s a veure amb aquests interessos.<\/p>\n

MM: La biennal t\u00e9 un marcat sentit pol\u00edtic. La ciutat de G\u00f6teborg tamb\u00e9. \u00bfQue el context estigui m\u00e9s que preparat per discutir pol\u00edtica, \u00e9s una cosa que facilita el treball art\u00edstic?<\/strong><\/p>\n

NG: En aquest \u00faltim any, dos museus espanyols m’han convidat a treballar, tot i que els projectes finalment no s’han dut a terme perqu\u00e8 la direcci\u00f3 ha al\u00b7legat que el context no estava “preparat” i que podria comportar reaccions adverses. O sigui, s’han justificat amb el context per\u00f2 alhora de manera impl\u00edcita estaven acceptant que justament per la “despolititzaci\u00f3” del context l’obra podria tenir m\u00e9s efecte. Segons el que la Maria m’explica, a G\u00f6teborg hi ha gent que no vol res amb una refugiada pol\u00edtica; una altra minoria juga sense m\u00e9s, per\u00f2 la majoria la volen escoltar, i molts d’aquests se\u2019n van mostrant-se ben indignats i cabrejats amb el seu govern i les pol\u00edtiques d’estrangeria que aplica.<\/p>\n","protected":false},"excerpt":{"rendered":"

Mart\u00ed Manen (MM): Participes en la biennal de G\u00f6teborg amb una proposta en qu\u00e8 poses en joc la necessitat d’amagar-se davant les lleis d’immigraci\u00f3. Com ha estat el proc\u00e9s per…<\/p>\n","protected":false},"author":1238,"featured_media":8223,"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":"\nZones fosques a Su\u00e8cia. 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