{"id":8419,"date":"2013-11-29T02:00:00","date_gmt":"2013-11-29T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/11\/29\/aixo-no-es-art-potser\/"},"modified":"2013-11-29T02:00:00","modified_gmt":"2013-11-29T02:00:00","slug":"aixo-no-es-art-potser","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/aixo-no-es-art-potser\/","title":{"rendered":"Aix\u00f2 no \u00e9s art (potser)"},"content":{"rendered":"<p><img decoding=\"async\" class=\" alignleft size-full wp-image-8394\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/11\/Jung_LibroRojo.jpg\" alt=\"Jung_LibroRojo.jpg\" align=\"left\" width=\"670\" height=\"503\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2013\/11\/Jung_LibroRojo.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2013\/11\/Jung_LibroRojo-533x400.jpg 533w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/><br \/>\n<em>&#8220;Outside in&#8221;<\/em> \u00e9s el t\u00edtol d&#8217;una ressenya sobre la biennal de Ven\u00e8cia publicada al darrer n\u00famero de <em>Mousse (40)<\/em>. Chris Welley, col\u00b7laborador cient\u00edfic del <em>Palau Enciclop\u00e8dic<\/em>, explica convincentment per qu\u00e8 el focus d&#8217;atenci\u00f3 s&#8217;est\u00e0 despla\u00e7ant cap a aquest &#8220;altre&#8221; art, el dels autodidactes al marge del sistema, i rastreja antecedents (la Documenta 13, ideada per Carolyn Christov-Bakargiev, n\u2019\u00e9s l&#8217;exemple m\u00e9s destacat) per a la biennal de Massimiliano Gioni. Fill predilecte de Francesco Bonami i Maurizio Cattelan, ungit amb tots els crismes de la teoria institucional de l&#8217;art, en el seu &#8220;Palau Enciclop\u00e8dic&#8221; articula un discurs historicista i antropol\u00f2gic sobre la natura i el potencial de les imatges, que confirma que un canvi de paradigma est\u00e0 \u2018a l&#8217;aire\u2019. I lluny de caure en fetitxismes, com els de les avantguardes hist\u00f2riques en relaci\u00f3 amb l&#8217;art primitiu, suposat reducte de la creativitat en estat pur, analitzem amb Welley &#8220;qu\u00e8 vol dir aquesta creixent passi\u00f3 per aquestes obres singulars, que escapen a qualsevol classificaci\u00f3 i es desenganxen de qualsevol tradici\u00f3, respecte del nostre desig d&#8217;art en general&#8221;.<\/p>\n<p>En poques paraules: es troba a faltar la urg\u00e8ncia de comunicar, una visi\u00f3 del m\u00f3n que alliberi els phantasmae de la imaginaci\u00f3 creadora, que est\u00e0 a la base de tot art autodidacta, procedeixi o no de la cl\u00ednica mental, independentment de la seva qualitat i resultat est\u00e8tic. Sembla una heretgia conjugar imaginaci\u00f3 i art contemporani, en els temps que corren, en qu\u00e8 tot el relacionat amb l&#8217;art est\u00e0 &#8220;professionalitzat&#8221; i &#8220;institucionalitzat&#8221; fins al punt que te\u00f2rics com George Dickie rebutgen qualsevol tipus d\u2019&#8221;artisticitat&#8221;, considerant en canvi el context social de recepci\u00f3 i construcci\u00f3 de significat i valor per a aquest objecte (<em>artworld<\/em>). L&#8217;art que es produeix dins del sistema, b\u00e9 per alimentar el mercat d&#8217;objectes de luxe, b\u00e9 per omplir els espais institucionals de museus i similars, obeeix a l\u00f2giques cada vegada m\u00e9s alienes a l&#8217;art. El pluralisme que saludava Danto, l\u2019&#8221;<em>anything goes<\/em>&#8220;, est\u00e0 deixant de ser sin\u00f2nim de llibertat creativa.<\/p>\n<p>A les cartel\u00b7les de la biennal de Ven\u00e8cia, que l&#8217;escriptor Tiziano Scarpa anomena les <em>vite enciclopediche di Gioni<\/em>, cap indicaci\u00f3 expressava la condici\u00f3 d\u2019 &#8220;insider&#8221; o d\u2019&#8221;outsider&#8221;. Un es pregunta, no ja qu\u00e8 hauran de veure la n\u00e8nia taral\u00b7lejada pels <em>performers<\/em> de Tino Sehgal, amb els diagrames sobre pissarra del pare de l&#8217;antroposofia, Rudolf Steiner, sin\u00f3 on \u00e9s la frontera entre uns i altres, o encara m\u00e9s, per qu\u00e8 hauria d&#8217;existir una frontera. En ambd\u00f3s casos els artistes es fan instrument de les imatges, es conceben en funci\u00f3 d&#8217;elles com ha sabut veure Scarpa (<em>Artribune<\/em>, maig 2013). Viatge ps\u00edquic cap a l\u2019ignot, mirada cap endins, el visionarisme no \u00e9s patrimoni dels <em>mediums<\/em>, ni es tracta de re-valoritzar la noci\u00f3 individualista del geni art\u00edstic. Des d&#8217;un punt de vista antropol\u00f2gic, tots som conductors d&#8217;imatges. Estem posse\u00efts per elles, recorda Gioni, encara que avui les exteriors amenacen amb sufocar i, de passada, a aquesta imaginaci\u00f3 creadora, davant la qual la cr\u00edtica segueix experimentant vergonya, quan no rebuig. A ella li retreu Lucie-Smith haver-se aturat en els aspectes m\u00e9s materials (i materialistes) de l&#8217;art del segle XX, ignorant el seu contingut visionari i les seves inequ\u00edvoques connexions amb corrents espiritualistes, des Kandinsky fins a Beuys . \u00c9s una constant aquesta incapacitat dels cr\u00edtics per solucionar l&#8217;irracional en l&#8217;art, des dels temps de Vasari, que no sabia com conceptuar els grotescos, encara que els hagu\u00e9s fet el mateix Rafael. Roelstraete admet -a la seva ressenya \u201cOutsider Art: after Venice&#8221;, Mousse, 40 -que ja no hi ha dubte que la tend\u00e8ncia actual a evadir la r\u00edgida reglamentaci\u00f3 de l\u2019<em>artworld<\/em> sigui una realitat. Un cop fora, per\u00f2, ignora qu\u00e8 \u00e9s el que ens espera, i com l&#8217;anomenarem, sobretot, com l&#8217;anomenarem. El desemparament dels cr\u00edtics \u00e9s, de nou, revelador.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Outside in&#8221; \u00e9s el t\u00edtol d&#8217;una ressenya sobre la biennal de Ven\u00e8cia publicada al darrer n\u00famero de Mousse (40). Chris Welley, col\u00b7laborador cient\u00edfic del Palau Enciclop\u00e8dic, explica convincentment per qu\u00e8&#8230;<\/p>\n","protected":false},"author":1296,"featured_media":8394,"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":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Aix\u00f2 no \u00e9s art (potser) &#8211; 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\" href=\"https:\/\/a-desk.org\/ca\/magazine\/aixo-no-es-art-potser\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Aix\u00f2 no \u00e9s art (potser) &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"&#8220;Outside in&#8221; \u00e9s el t\u00edtol d&#8217;una ressenya sobre la biennal de Ven\u00e8cia publicada al darrer n\u00famero de Mousse (40). 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