video<\/a> amb la documentaci\u00f3 d’algunes de les peces del per\u00edode 1971-1974. De fet aix\u00ed comen\u00e7a la mostra, amb aquest v\u00eddeo encaixat en un lloc de pas mentre la resta de la sala l\u2019ocupen uns dossiers que reprodueixen el contingut dels seus llibres Chris Burden 71-73 i Chris Burden 74-77. Una forma d’evitar els vergonyosos re-enactments estil Abramovic, el que \u00e9s d’agrair, encara que no deixen de ser un re-enactment, doncs aquesta mateixa manera de presentar la documentaci\u00f3 ja es va dur a terme, amb el mateix tipus de taules i cadires, en una exposici\u00f3 de 1974 a la galeria de Ronald Feldman.<\/p>\nDel cub amb la documentaci\u00f3, baixem a la resta de cubs on s’acumulen les obres d’enginyeria, la recerca dels l\u00edmits del que \u00e9s material o la viol\u00e8ncia amb la qual el material s’acumula en aquest abocador anomenat m\u00f3n. Aix\u00ed trobem el v\u00eddeo amb les bigues llan\u00e7ades des de les al\u00e7ades, la muntanya de lingots d’or (4milions de d\u00f2lars) al voltant de la qual ballen uns pagans homenets fets de llumins, un Porsche i un meteorit en equilibri perfecte o la moto que desperta un gegant volant d’in\u00e8rcia. Tot fins arribar a la instal\u00b7laci\u00f3 \u2018A Tale of Two Cities\u2019 (1981), on cinc-mil joguines de diferents proced\u00e8ncies representen una batalla inacabada entre dues ciutats. L’obsessi\u00f3 per les maquetes, com en els ponts i en els submarins, no nom\u00e9s esgota les possibilitats d\u2019all\u00f2 f\u00edsic, sin\u00f3 que confronta al visitant amb la por de descobrir-se davant l’obra d’un mascle compulsiu.<\/p>\n
Diuen que la comiss\u00e0ria, la directora Lisa Phillips, va haver de conv\u00e8ncer Burden per incloure peces a l’interior, ja que ell, poc inclinat als museus com \u00e9s, preferia l’exterior, que li atorgava una escala d\u2019acord amb les seves obres. Podr\u00edem fins i tot q\u00fcestionar si realment hi ha hagut comissariat, ja que la mostra no \u00e9s molt afortunada en la selecci\u00f3 o la ubicaci\u00f3 de les peces en un espai dif\u00edcil. Tamb\u00e9 s’explica que Burden no va apar\u00e8ixer fins al dia de la inauguraci\u00f3, aix\u00ed que segurament hagu\u00e9s estat millor fer-li cas i tallar el Bowery amb camions, ponts i grues, deixar-lo expandir els seus reptes, mostrar la viol\u00e8ncia intr\u00ednseca en cada objecte, incl\u00f2s el seu cos i oblidar-se de l\u2019interior claustrof\u00f2bic d’un museu, que entre nosaltres, porta temps balancejant-se.<\/p>\n
I al final ens queda Burden, el Burden anti-sistema, l’artista que s’auto-promocionava en anuncis televisats, en una era on el crowd-funding no obligava els artistes a ensenyar la seva millor cara al Facebook, el que va aguantar cinc dies tancat en una taquilla, i no vestia de Givenchy, o el que a trav\u00e9s d’ una instal\u00b7laci\u00f3 participativa va voler esfondrar el museu, de veritat, seriosament, i no a trav\u00e9s de les pr\u00e0ctiques cr\u00edtiques del blablabl\u00e0.<\/p>\n","protected":false},"excerpt":{"rendered":"
Sembla que han tret de l’oblit a Chris Burden, i ara m\u00e9s d’un es ruboritzar\u00e0. El mite de l’artista agressiu, l\u2019Evel Knievel de l’escena art\u00edstica dels setanta, presenta la seva…<\/p>\n","protected":false},"author":1267,"featured_media":8285,"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":[5692,5463],"coauthors":[],"acf":[],"yoast_head":"\n
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<\/p>\n