{"id":8435,"date":"2013-12-03T02:00:00","date_gmt":"2013-12-03T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2013\/12\/03\/an-opal-world-el-monoleg-en-2\/"},"modified":"2013-12-03T02:00:00","modified_gmt":"2013-12-03T02:00:00","slug":"an-opal-world-el-monoleg-en-2","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/an-opal-world-el-monoleg-en-2\/","title":{"rendered":"An Opal World: el mon\u00f2leg en interacci\u00f3"},"content":{"rendered":"

\"IMG_2331.jpg\"
\nUna de les propietats de l’art \u00e9s la parla. Com a espai d’enunciaci\u00f3, l’art \u00e9s -en el millor dels casos- dipositari d’una ventril\u00f2quia poliglota. Tamb\u00e9 causa i efecte d’una conversa heterog\u00e8nia, amb voluntat de debat per\u00f2 sense tantes ganes de disc\u00f2rdia com pret\u00e9n. A grans i imprecisos trets. O m\u00e9s aviat succeeix que les seves discussions tendeixen a unificar-se en una homogene\u00eftat fragmentada, malgrat la seva m\u00faltiple autoria i els seus m\u00faltiples interlocutors potencials. Interlocutors que no participen amb igualtat de condicions dins d’un espai de discussi\u00f3 jer\u00e0rquic. A m\u00e9s, la parla que practica l’art deriva en un discurs marcat per l’anonimat d’una audi\u00e8ncia que assisteix sense l’obligaci\u00f3 d’estar atenta i sense la responsabilitat -o el dret real- d’una r\u00e8plica, raonament o comentari immediats. L’observaci\u00f3 i l’escolta de l’art nega, per la seva pr\u00f2pia condici\u00f3 en diferit, l’activaci\u00f3 d’una discussi\u00f3 tal com l’entenem habitualment. Per contrapartida, podria oferir noves maneres d’entendre el concepte de discussi\u00f3, alhora que ens impel\u00b7leix a la recerca d’altres interlocutors, aquesta vegada presencials, per prolongar facultativament un debat on moltes veus es perden en el transitori de l’oralitat.<\/p>\n

Tota exposici\u00f3 recull un debat possible en qu\u00e8 diferents veus ofereixen matisos – i no sempre punts de vista contraris – al voltant d’un argument com\u00fa. An Opal World<\/em> (Kunstraum, Londres)<\/a> agrupa quatre mon\u00f2legs que, literalment, parlen a un espectador que ha de posar de la seva part per completar una escena a mitges. I no es tractaria tant de l’engany\u00f3s t\u00f2pic de l’obra oberta com d’una pr\u00e0ctica conscient de l’abs\u00e8ncia present. M\u00e9s que un tema com\u00fa, una actitud compartida. I potser una intenci\u00f3 semblant. A Yellow Film<\/em>, de Rossella Biscotti, \u00e9s una pel\u00b7l\u00edcula en 16 mm monocroma on la insist\u00e8ncia de la permanent imatge en groc s’acompanya d’un \u00e0udio que recull la gravaci\u00f3 de diverses sessions psicoanal\u00edtiques sota els efectes del Pentotal. La veu individual del pacient, m\u00e9s enll\u00e0 de les an\u00e8cdotes i les pors personals, estimularia el car\u00e0cter universal de l’experi\u00e8ncia individual, especialment quan estan vinculats a moments hist\u00f2rics essencials com la Segona Guerra Mundial.<\/p>\n

Adriano<\/em>, d’Alberto de Michele, funciona amb una projecci\u00f3 on la imatge -aquesta vegada un fons negre- tamb\u00e9 cedeix el protagonisme al relat a trav\u00e9s dels subt\u00edtols de l’\u00e0udio que l’acompanya. La hist\u00f2ria personal, subjectiva i en primera persona d’un lladre de bancs exiliat volunt\u00e0riament a casa de l’artista durant mesos apunta conscientment a una reflexi\u00f3 transcendental i filos\u00f2fica on no tenen cabuda el remordiment o la culpa que tota moral benpensant esperaria. Priscila Fernandes assaja a In the Search of the Self<\/em> l’abs\u00e8ncia de veu en un v\u00eddeo que, amb l’anul\u00b7laci\u00f3 conscient de l’oralitat, posa en evid\u00e8ncia que els esquemes no s\u00f3n intel\u00b7ligibles sense una arquitectura narrativa que dirigeixi els conceptes en un sentit l\u00f2gic. I que tot discurs necessita d’un sistema de legitimaci\u00f3 basat tant en una posada en escena convincent d’aquest com d’una argumentaci\u00f3 dial\u00e8ctica dels seus continguts.<\/p>\n

Amb un v\u00eddeo hereu de la tan de moda “est\u00e8tica Youtube” al m\u00f3n de l’art i que -com excepci\u00f3 a la norma- no juga amb l’abs\u00e8ncia formal, Jans Peter Hammer ens presenta a The Fable of The Bees<\/em> un energ\u00e8tic i professional jove que serveix de canal per a la propagaci\u00f3 actual de les \u00bfanacr\u00f2niques? teories il\u00b7lustrades de Bernand Mandeville. Segons Mandeville, han estat les millors persones les que han fet del m\u00f3n un lloc pitjor -de bons prop\u00f2sits n\u2019estan plens els cementiris-, mentre que els vicis privats conduirien a un augment dels beneficis p\u00fablics. Aquests arguments serien presos en consideraci\u00f3 m\u00e9s tard gr\u00e0cies a Adam Smith, qui va saber rebaixar estrat\u00e8gicament el to maquiav\u00e8l\u00b7lic i inocular la necess\u00e0ria p\u00e0tina de cientificitat per a la seva acceptaci\u00f3 general. En un acte de ventril\u00f2quia inconscient, el personatge d’aquest v\u00eddeo repeteix oralment la hist\u00f2ria amb la mateixa insensatesa que d\u2019altres la repeteixen amb les seves accions.<\/p>\n

En la seva condici\u00f3 d’espai d’enunciaci\u00f3 simult\u00e0nia, An Opal World<\/em> \u00e9s una exposici\u00f3 que intercanvia la precisi\u00f3 d’un statement definitori per la po\u00e8tica indeterminada d’un t\u00edtol que eludeix la responsabilitat d’un sentit concret. Sent ben\u00e8vols, podria funcionar com un altre exemple d’un m\u00f3n sincr\u00e8tic en qu\u00e8 moltes veus parlen alhora. El problema, com sempre, la sordesa rec\u00edproca dels uns amb els altres.<\/p>\n","protected":false},"excerpt":{"rendered":"

Una de les propietats de l’art \u00e9s la parla. Com a espai d’enunciaci\u00f3, l’art \u00e9s -en el millor dels casos- dipositari d’una ventril\u00f2quia poliglota. Tamb\u00e9 causa i efecte d’una conversa…<\/p>\n","protected":false},"author":1273,"featured_media":8406,"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":"\nAn Opal World: el mon\u00f2leg en interacci\u00f3 – 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\/an-opal-world-el-monoleg-en-2\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"An Opal World: el mon\u00f2leg en interacci\u00f3 – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Una de les propietats de l’art \u00e9s la parla. 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