{"id":8388,"date":"2013-11-19T02:00:00","date_gmt":"2013-11-19T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/11\/19\/exposar-sense-matar-en-l-intent-ii\/"},"modified":"2013-11-19T02:00:00","modified_gmt":"2013-11-19T02:00:00","slug":"exposar-sense-matar-en-l-intent-ii","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/exposar-sense-matar-en-l-intent-ii\/","title":{"rendered":"Exposar sense matar en l’intent (II)"},"content":{"rendered":"

\"Performer_produccion_web.jpg\"
\nNo hi havia molta gent quan vaig entrar al pavell\u00f3 de Romania de la Biennal de Ven\u00e8cia: un parell de persones que van treure el cap i se’n van anar sorpreses, una noia recolzada a la paret del fons, un home amb unes ulleres horribles de pasta taronja assegut al terra amb cara d’\u00e8xtasi. Cap a l’esquerra de l’entrada hi havia dues performers en una postura que no recordo. Recolzats en la paret n\u2019hi havia tres m\u00e9s. En un moment donat, una d’elles es va avan\u00e7ar i va anunciar la propera obra que anaven a recrear: una de Marina N\u00fa\u00f1ez del Prado, que va representar per primera vegada a Bol\u00edvia l\u2019any 1952. No conec la seva escultura, per\u00f2 vaig gaudir veient una performer col\u00b7locar-se en una postura que havia assemblar-s\u2019hi. Si que vaig con\u00e8ixer les seg\u00fcents obres: “Questions”, de Fischli & Weiss, i el retrat de Jeff Koons amb Cicciolina. Despr\u00e9s d’unes quantes peces m\u00e9s, els performes van recrear el pavell\u00f3 de Romania el 2005, que Daniel Knorr va buidar per analitzar la reacci\u00f3 dels espectadors. Van agafar la porta i se\u2019n van anar.<\/p>\n

Sens dubte, la proposta d’Alexandra Pirici i Manuel Pelmu\u00e7 per aquest pavell\u00f3, recrear una s\u00e8rie d’obres seleccionades des dels principis de la Biennal, era la m\u00e9s fresca de l’esdeveniment. I no obstant aix\u00f2, jugava amb termes molt pesats: la hist\u00f2ria, la mem\u00f2ria, la mirada a la pr\u00f2pia Biennal des de la Biennal. Amb totes les virtuts de les arts esc\u00e8niques, encarnava el material sense la seva pres\u00e8ncia, i al mateix temps jugava amb les imatges ja gravades en la ment de l’espectadora: el que reconeixes i el que no, el que identifiques i el que has de imaginar perqu\u00e8 no tens una imatge pr\u00e8via a la qual rec\u00f3rrer. La performance era al mateix temps un exercici curatorial impressionant: una selecci\u00f3 de peces en principi inconnexes, de vegades sorprenents, de vegades conegud\u00edssimes, que com en qualsevol exposici\u00f3 que es pre\u00ef, acabaven cobrant una entitat i un sentit pel fet de presentar-se seq\u00fcencialment. I per descomptat, all\u00e0 estava, cont\u00ednuament, l’atractiva dist\u00e0ncia entre els objectes i la seva representaci\u00f3, entre la mat\u00e8ria i la vida i entre una hist\u00f2ria que s’observa o una que s’actua.<\/p>\n

Totes aquestes idees han tornat a la meva ment fa uns dies, en veure la pe\u00e7a Performer de Cabello\/Carceller, programada dins del festival BAD de Bilbao i produ\u00efda per Consonni. Es tracta d’una performance acompanyada d’un v\u00eddeo. Aquest va recorrent els dip\u00f2sits de l\u2019Artium, amb les seves pintures, les seves escultures embolicades en pl\u00e0stics protectors, les seves fotografies… i entre totes elles, una noia que intenta passar l’estona llegint, pensant o mirant les obres. Es tracta de la performer, necess\u00e0ria per complir amb les caracter\u00edstiques exactes de la pe\u00e7a, de manera que est\u00e0 emmagatzemada i catalogada amb la resta d’obres del museu. En aquest arxiu de la mem\u00f2ria la trobem a ella, explicant-nos que la feina no est\u00e0 del tot malament, que la temperatura al magatzem \u00e9s constant i que cotitza a la seguretat social, per\u00f2 tamb\u00e9 reflexiona sobre la dist\u00e0ncia entre la teoria i la pr\u00e0ctica en art, la impossibilitat d’una veritable repetici\u00f3 en la performance; sobre la funci\u00f3 de mem\u00f2ria que exerceixen les col\u00b7leccions i sobre qu\u00e8 passar\u00e0 amb l’obra quan ella, la performer, no hi sigui. Perqu\u00e8 quin \u00e9s el tra\u00e7 que deixa una actuaci\u00f3, una personificaci\u00f3, una pres\u00e8ncia? Al mateix temps que veiem el v\u00eddeo al Museu de Belles Arts de Bilbao, la performer surt a escena: la pe\u00e7a ha vingut en pr\u00e9stec. Mentre l’observem amb el v\u00eddeo de fons, la seva pres\u00e8ncia i la seva imatge simult\u00e0nies, la performer reparteix targetes amb textos i xiuxiueja a l’orella dels espectadors “aquest moment no tornar\u00e0 a repetir-se”.<\/p>\n

Jo em pregunto: arriba algun moment a repetir-se? L’objecte pot guardar-se, per\u00f2 pot la trobada amb el p\u00fablic replicar-se en les mateixes i exactes condicions? Probablement la pregunta m\u00e9s actual que ens plantegen aquestes peces gira entorn de com recordem i creem objectes per a la mem\u00f2ria, com veiem i acceptem les catalogacions de la hist\u00f2ria, i com vivim i com rememorem les peces art\u00edstiques. Ens plantegen que, encara que alguns objectes i les seves viv\u00e8ncies puguin guardar-se entre papers de seda, immutables, invariables, impol\u00b7luts i intocables fins a la fi dels temps, les viv\u00e8ncies nom\u00e9s existeixen durant un moment. Un moment que no, mai tornar\u00e0 a repetir-se.<\/p>\n","protected":false},"excerpt":{"rendered":"

No hi havia molta gent quan vaig entrar al pavell\u00f3 de Romania de la Biennal de Ven\u00e8cia: un parell de persones que van treure el cap i se’n van anar…<\/p>\n","protected":false},"author":1255,"featured_media":8357,"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":"\nExposar sense matar en l'intent (II) – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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