{"id":8264,"date":"2013-10-08T02:00:00","date_gmt":"2013-10-08T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/10\/08\/la-seda-de-caballo-i-el-bosc\/"},"modified":"2013-10-08T02:00:00","modified_gmt":"2013-10-08T02:00:00","slug":"la-seda-de-caballo-i-el-bosc","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/la-seda-de-caballo-i-el-bosc\/","title":{"rendered":"La “seda de Caballo” i el bosc atl\u00e0ntic. Vilari\u00f1o a la Tabacalera"},"content":{"rendered":"

\"SedaCaballo_03.jpg\"
\n“Ya no soy nada, ya nada queda, la luz atroz del invierno me estremece”. Manuel Vilari\u00f1o.<\/em><\/p>\n

La met\u00e0fora “seda de cavall” utilitzada per Lezama Lima i atribu\u00efda a Colom per parlar del p\u00e8l de les cubanes fa al\u00b7lusi\u00f3 tant a la bellesa del cabell com a la resist\u00e8ncia del mateix, referint-se a un car\u00e0cter cub\u00e0 honest i decidit. Lezama Lima en el prefaci d\u2019 \u2018Antologia\u2019 ve a dir que aqu\u00ed, amb aquesta al\u00b7legoria, comen\u00e7a la poesia cubana.<\/p>\n

\u00c9s interessant esmentar que el treball de Vilari\u00f1o, ara a Madrid<\/a>, parteix d’un origen po\u00e8tic que es gesta en la for\u00e7a elemental i que deriva en la bellesa, una bellesa potent i propera tant al principi com a la fi; la mort i el naixement , el cicle de la vida. El mateix artista ha esmentat que la seva fotografia no tindria sentit sense la poesia, perqu\u00e8 per a ell les dues van de la m\u00e0.<\/p>\n

El projecte \u201cSeda de Caballo\u201d a Tabacalera \u00e9s un abans i un despr\u00e9s en la relaci\u00f3 amb l’espai d’aquesta vella f\u00e0brica, en qu\u00e8 des de l’origen del projecte s’ha respectat el seu car\u00e0cter industrial. \u00c9s per aix\u00f2 que les exposicions visitades fins al moment sempre, en certa mesura, havien estat fagocitades per la for\u00e7a del propi edifici i les seves m\u00e9s que complicades sales i espais de tr\u00e0nsit. L’energia de la mem\u00f2ria de l’edifici era un clar handicap per als artistes.<\/p>\n

Amb Vilari\u00f1o la cosa canvia. No \u00e9s f\u00e0cil fer-se amb un lloc aix\u00ed, per\u00f2 aquest fot\u00f2graf, Premi Nacional l\u2019any 2007, ha aconseguit “seduir” l\u2019espai i conformar un projecte rotund, una mirada \u00e0mplia sobre el seu treball que s’estructura en l\u2019indret d’una manera natural i que funciona taxativament.<\/p>\n

El projecte, sota el comissariat de Fernando Castro Fl\u00f3rez, aglutina gaireb\u00e9 cent obres de l’artista en un marc temporal d’uns 30 anys de producci\u00f3, i es presenta com una exposici\u00f3 fonamental per entendre l’obra d’un dels millors fot\u00f2grafs d’aquest pa\u00eds.<\/p>\n

Vilari\u00f1o ha tractat sempre temes cl\u00e0ssics com el bodeg\u00f3 o la natura morta; el paisatge amb un rerefons que al\u00b7ludeix a la solitud, la mort, l’a\u00efllament en un joc simb\u00f2lic que s’enriqueix amb, en aquest cas, un parell de peces escult\u00f2riques. El seu tracte exquisit d\u2019all\u00f2 est\u00e8tic es configura en un equilibri discursiu i formal. Els pol\u00edptics d’animals morts i pigments, aquestes platges que es podrien definir com la fi del m\u00f3n, un finis terrae<\/em> que no queda tan lluny de la retina de l’artista.<\/p>\n

La fotografia de Vilari\u00f1o com a territori \u00fanic vinculat a la poesia porta a la mirada petrificada per aquest objectiu que s’acosta a la pr\u00f2pia Gorgona, amb un resultat clar, la captura de la imatge. La relaci\u00f3 amb la m\u00edstica de Vilari\u00f1o condueix a un espai contemplatiu sense igual, l’experi\u00e8ncia d’una mar sense fi pot ser equiparable a all\u00f2 sublim.<\/p>\n

El silenci en la seva obra condueix a la poesia: des de San Juan de la Cruz fins Valente. En aquest m\u00e0gic recorregut acabem en l’animal, assumit com el s\u00edmbol, el cercle que es tanca. En el temps del soroll i la pressa, a l’obra d’aquest artista nom\u00e9s resta el silenci. Quelcom que podr\u00edem ara definir com “l’extraordinari”.<\/p>\n","protected":false},"excerpt":{"rendered":"

“Ya no soy nada, ya nada queda, la luz atroz del invierno me estremece”. Manuel Vilari\u00f1o. La met\u00e0fora “seda de cavall” utilitzada per Lezama Lima i atribu\u00efda a Colom per…<\/p>\n","protected":false},"author":1283,"featured_media":8232,"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":"\nLa "seda de Caballo" i el bosc atl\u00e0ntic. 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