{"id":8329,"date":"2013-11-01T02:01:00","date_gmt":"2013-11-01T02:01:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/11\/01\/estimo-els-museus-orhan-pamuk-i-el\/"},"modified":"2013-11-01T02:01:00","modified_gmt":"2013-11-01T02:01:00","slug":"estimo-els-museus-orhan-pamuk-i-el","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/estimo-els-museus-orhan-pamuk-i-el\/","title":{"rendered":"“Estimo els museus”, Orhan Pamuk i el seu Museu de la Innoc\u00e8ncia"},"content":{"rendered":"

\"003.jpg\"
\nOrhan Pamuk, l’escriptor turc premi Nobel 2006, afirma que pintar el fa “immensament feli\u00e7”, en canvi escriure el fa sentir-se “irat contra el m\u00f3n” i “m\u00e9s intel\u00b7ligent” [La novel\u00b7la “El Museu de la Innoc\u00e8ncia” va ser publicada l\u2019any 2008 i tradu\u00efda a m\u00e9s de 60 lleng\u00fces. El museu va ser inaugurat la primavera de 2012, situat al barri de \u00c7ukurcuma, al cor d’Istanbul]]. No vull deduir que pintar \u00e9s de tontos i escriure \u00e9s d’intel\u00b7ligents. Per\u00f2 la veritat \u00e9s que el seu amor per l’art el va portar a fer de la seva \u00faltima novel\u00b7la un museu, el primer exemplar en el m\u00f3n d’aquesta classe. Fins i tot es va animar i va escriure un [Manifest<\/a> per aclarir per qu\u00e8 haur\u00edem d\u2019estimar els museus que comen\u00e7a aix\u00ed: “Estimo els museus i no s\u00f3c l’\u00fanic que troba que cada dia que passa ens fan m\u00e9s feli\u00e7os.”<\/p>\n

Certa ra\u00f3 t\u00e9 Orhan Pamuk en replicar que els Grans Museus Europeus s\u00f3n ‘llocs desprove\u00efts d’alegria, insuflats per l’atmosfera d’una oficina governamental’, ja que sens dubte cal replantejar la funci\u00f3 d’aquests mausoleus i dels seus continguts. Per\u00f2 personalment no deixaria la soluci\u00f3 en mans de Pamuk, que \u00e9s, com a m\u00ednim, bastant innocent.<\/p>\n

Museu i novel\u00b7la porten el mateix grandiloq\u00fcent t\u00edtol, “El Museu de la Innoc\u00e8ncia”, i van ser concebuts al mateix temps. La novel\u00b7la relata la hist\u00f2ria d’amor entre un noi de fam\u00edlia rica i una noia de fam\u00edlia pobra que no poden estimar-se a causa de la difer\u00e8ncia de condici\u00f3 social -qu\u00e8 original!-. Durant 83 cap\u00edtols i m\u00e9s de 700 p\u00e0gines, Kemal Bey, el protagonista, relata obsessivament el seu mal d’amor, que tracta de saciar recollint tots els objectes que han fregat la pell de la seva estimada. Donant un complicat gir, el mateix Pamuk resulta ser un dels personatges a qui li \u00e9s encarregada la missi\u00f3 d’explicar la hist\u00f2ria. Fins a tal punt s’embolica la cosa, que una acaba pensant que Pamuk i Kemal s\u00f3n el mateix personatge obsessiu compulsiu que amuntega objectes vells dels antiquaris i escombriaires del barri.<\/p>\n

Explica Pamuk que va escriure la novel\u00b7la a mesura que els objectes, que en realitat ell mateix recollia, anaven trobant el seu lloc en el relat i al museu. Calvino va fer una vegada un experiment semblant -i tamb\u00e9 va aconseguir un text bastant avorrit-, per\u00f2 l’itali\u00e0 almenys jugava amb l’atzar deixant la hist\u00f2ria a mans de les cartes de tarot. Pamuk sembla que construeix una hist\u00f2ria d’amor tan tempestuosa per al protagonista com per als lectors, per tal de justificar les ganes de tenir un museu.<\/p>\n

En un moment de la novel\u00b7la F\u00fcsun, l’estimada, aclareix sense m\u00e9s argument, que s\u00f3n els objectes els que de veritat ens porten a recordar els moments feli\u00e7os de la vida. Kemal es pren la idea al peu de la lletra, i aix\u00ed es veuen incloses en la col\u00b7lecci\u00f3 les m\u00e9s de 4,000 burilles que la noia es va fumar durant la seva vida, i que ens donen la benvinguda al museu. Segueixen en les tres plantes de l’edifici 83 vitrines -una per cap\u00edtol- on s’exhibeixen tota mena d’objectes, fins i tot unes r\u00e8pliques fetes de porexpan del menjar que va ser ingerit al llarg de la hist\u00f2ria, bastant fastigoses.<\/p>\n

Tot aquest \u201ctinglado\u201d podria recordar les nombroses cases-museu, que havent estat llar d’algun personatge il\u00b7lustre, vam visitar anhelant endinsar-nos en aquesta ment genial. Fins i tot Harald Szeeman va tenir un cop el seu “Museu de les Obsessions”, per\u00f2 va tenir la dignitat d’emmagatzemar-lo \u00fanica i exclusivament al seu caparr\u00f3.<\/p>\n

Segons Pamuk la vida de Kemal, “\u00e9s la demostraci\u00f3 d’una veritat: el cor hum\u00e0 \u00e9s de la mateixa manera al llarg i ample del m\u00f3n”. Al meu parer no es tracta, com pret\u00e9n l’autor, d’una indagaci\u00f3 existencialista amb les cl\u00e0ssiques preguntes, qu\u00e8 \u00e9s la vida? Qu\u00e8 \u00e9s l’amor? Perqu\u00e8 som aqu\u00ed? Sin\u00f3, i una vegada m\u00e9s, de l\u2019enaltiment de l’amor rom\u00e0ntic burg\u00e8s.<\/p>\n

Buscant una resposta al per qu\u00e8 de tota aquesta martingala em vaig adonar que ni el mateix Pamuk em podia ajudar: I d’aqu\u00ed no sortim.<\/p>\n","protected":false},"excerpt":{"rendered":"

Orhan Pamuk, l’escriptor turc premi Nobel 2006, afirma que pintar el fa “immensament feli\u00e7”, en canvi escriure el fa sentir-se “irat contra el m\u00f3n” i “m\u00e9s intel\u00b7ligent” [La novel\u00b7la “El…<\/p>\n","protected":false},"author":1271,"featured_media":8313,"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":"\n"Estimo els museus", Orhan Pamuk i el seu Museu de la Innoc\u00e8ncia – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, 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