{"id":8352,"date":"2013-11-11T02:00:00","date_gmt":"2013-11-11T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/11\/11\/al-legories-del-parpadeig-philippe\/"},"modified":"2013-11-11T02:00:00","modified_gmt":"2013-11-11T02:00:00","slug":"al-legories-del-parpadeig-philippe","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/al-legories-del-parpadeig-philippe\/","title":{"rendered":"Al\u00b7legories del parpadeig. Philippe Parreno al Palais de Tokyo"},"content":{"rendered":"

\"a)
\nL’exposici\u00f3 de Philippe Parreno al Palais de Tokyo de Par\u00eds constitueix una gran oportunitat per entrar al m\u00f3n d’aquest artista franc\u00e8s clau per entendre l’art contemporani des dels noranta. Anywhere, Anywhere Out of the World<\/em> \u00e9s el t\u00edtol d’una mostra que reactiva la idea de l’exposici\u00f3 com un medi en s\u00ed mateix. Al ritme de Petrushka<\/em> d\u2019Stravinski, l’espectador ha de rec\u00f3rrer un orquestrat cam\u00ed al mateix temps que pensa tant les obres particulars com el dispositiu global.<\/p>\n

Des de fora, el Palais de Tokyo comen\u00e7a amb una de les seves famoses marquees<\/em>, o marquesines plenes de bombetes que anuncien l’entrada assenyalant l’espectador situat a sota. L’espectador \u00e9s, des d’aquest mateix moment, un ens autoconscient que interactua amb l’experi\u00e8ncia que se li ofereix. Un cop dins, una altra sala cont\u00e9 totes les marquesines que l’artista ha realitzat al llarg de la seva carrera. Aquestes s’encenen i s’apaguen en una dansa sonora rob\u00f2tica mentre al fons sona la melodia de piano.<\/p>\n

Des del nou hall redissenyat, el recorregut ofereix totes les facetes de la traject\u00f2ria d’aquest artista: joc; ficci\u00f3 i narraci\u00f3; m\u00f3n infantil; m\u00fasica; col\u00b7laboracions diverses i , d’un temps en\u00e7\u00e0, tamb\u00e9 coreografia i dansa. Tot aix\u00f2 amb la inestimable ajuda de la tecnologia i un cert toc sci-fi<\/em>. Es troba aqu\u00ed un efecte d’estranyament, de desenfocament, al mateix temps que una espectacularitat continguda i molt subtil. 56 senyals lluminosos (una per cada moviment de Petrushka<\/em>) han estat instal\u00b7lades assenyalant el cam\u00ed. De sobte, els senyals parpellegen: tota l’exposici\u00f3 est\u00e0 immersa en aquest parpelleig. Les habituals cartel\u00b7les que assenyalen les obres s\u00f3n petites pantalles que tamb\u00e9 s’encenen i s’apaguen, transmetent missatges en petits flaixos<\/em> de text.<\/p>\n

No \u00e9s f\u00e0cil, per\u00f2, comprendre la l\u00f2gica que governa tot aquest dispositiu. Nom\u00e9s al final del recorregut el visitant troba la sala de comandaments, el lloc on s’allotja l\u2019”ordinador” central, una sala plena de cables i m\u00e0quines. Abans d’aix\u00f2, una pianola sobre la qual cau cendra i sona autom\u00e0ticament (obra de Liam Gillick) ens introdueix en els secrets del dispositiu com si d’una m\u00e0quina de mesurar el temps es tract\u00e9s. Metr\u00f2nom gegant. Parreno recorda llavors a John Cage, qui al costat de Merce Cunningham t\u00e9 un lloc reservat en aquesta exposici\u00f3.<\/p>\n

Especialment remarcable \u00e9s la pres\u00e8ncia espectral i que reapareix (com tot bon fantasma) una i altra vegada. Els sons dels passos de la troupe<\/em> Merce Cunningham en una tarima buida; l’esperit de Marilyn Monroe reclosa en un hotel de Nova York; o la reencarnaci\u00f3 f\u00edsica del personatge manga Annlee, els drets del qual Parreno i Pierre Huyghe van comprar l\u2019any 1999, i que ara apareix en carn i ossos gr\u00e0cies a una adolescent en una obra del mai indiferent Tino Sehgal. Constitueix aquest un dels moments m\u00e9s estranys i m\u00e0gics que mai hagi vist mai en una exposici\u00f3 art\u00edstica. Ocupant tot l’espai, Philippe Parreno executa una gran obra de “coreografia expandida”, dansa, arquitectura i tamb\u00e9 cinematografia. Aix\u00ed \u00e9s l’art del nostre temps.<\/p>\n

\"b)<\/p>\n

Aquesta, i la simult\u00e0nia retrospectiva de Pierre Huyghe al Centre Pompidou, serveixen per prendre el pols a no poques innovacions en el si de les institucions art\u00edstiques des de la d\u00e8cada dels noranta. La sensaci\u00f3 que queda despr\u00e9s d’haver-les vist \u00e9s la d’una absoluta coincid\u00e8ncia entre les dues propostes art\u00edstiques pel que fa als seus marcs institucionals. Avui en dia els museus mimetitzen els seus marcs ideol\u00f2gics amb un art produ\u00eft el qual s’ajusta a la demanda. Qualsevol experi\u00e8ncia \u00e9s ja possible en el si del museu.<\/p>\n

Michel Foucault va definir un dispositiu com una xarxa de relacions que pot establir-se entre diferents elements heterogenis i que compr\u00e8n: discursos, institucions, instal\u00b7lacions arquitect\u00f2niques, mesures administratives, enunciats cient\u00edfics, proposicions filos\u00f2fiques, morals, etc. Tot i que Foucault parlava de dispositius disciplinaris, ara aquests han mutat en la reproducci\u00f3 de ficci\u00f3 de llibertat i consum del liberalisme. L\u2019any 1995, Parreno, Huyghe i Dominique Gonzalez-Foerster van fundar L’Association des Temps Liber\u00e9s<\/em> amb la convicci\u00f3 que \u00e9s m\u00e9s important ocupar franges de temps i reactivar l’anomenat temps d’oci en alguna cosa productiva que l’anterior obsessi\u00f3 situacionista per ocupar espais f\u00edsics o de resist\u00e8ncia. El temps els ha donat la ra\u00f3?<\/p>\n","protected":false},"excerpt":{"rendered":"

L’exposici\u00f3 de Philippe Parreno al Palais de Tokyo de Par\u00eds constitueix una gran oportunitat per entrar al m\u00f3n d’aquest artista franc\u00e8s clau per entendre l’art contemporani des dels noranta. Anywhere,…<\/p>\n","protected":false},"author":1261,"featured_media":8320,"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":"\nAl\u00b7legories del parpadeig. 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