{"id":8547,"date":"2014-01-11T02:00:00","date_gmt":"2014-01-11T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/01\/11\/rudolf-stingel-i-l-art-del-tapis\/"},"modified":"2014-01-11T02:00:00","modified_gmt":"2014-01-11T02:00:00","slug":"rudolf-stingel-i-l-art-del-tapis","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/rudolf-stingel-i-l-art-del-tapis\/","title":{"rendered":"Rudolf Stingel i l’art del tap\u00eds"},"content":{"rendered":"

\"stingel_edit.jpg\"
\nTot i que la Biennal de Ven\u00e8cia va ser el major esdeveniment d’art de l’estiu passat, una altra gran sorpresa estava just a la volta de la cantonada: l’exposici\u00f3 monogr\u00e0fica de Rudolf Stingel,<\/a> una exposici\u00f3 que per primera vegada s’ha apoderat de tot el Palazzo Grassi, imponent espai d’exposici\u00f3 de Fran\u00e7ois Pinault a la ciutat flotant.<\/p>\n

En arribar un es s’enfrontava a un dels mitjans habituals d\u2019 Stingel: una catifa oriental de tons vermell, blanc i negre cobria la planta baixa del palau. L’escenari \u00e9s una reminisc\u00e8ncia de la proposta de Stingel a la Neue Nationalgalerie de Berl\u00edn l\u2019any 2010, on de manera similar va cobrir la planta baixa del temple de vidre de Mies van der Rohe amb una catifa de colors negre, gris i blanc. En endinsar-se m\u00e9s a l’espai, un s\u2019adonava que aquesta vegada la proposta de Stingel era m\u00e9s complexa. Aqu\u00ed els visitants no nom\u00e9s trepitjaven la catifa, m\u00e9s aviat es veien embolcallats per ella. El tap\u00eds cobria el terra, les escales i les parets de les tres plantes del palazzo. La monumentalitat d’aquesta tasca destacava la pregunta al voltant dels detalls complexos i multi-fac\u00e8tics de tal empresa.<\/p>\n

En rec\u00f3rrer l’exposici\u00f3, era inevitable q\u00fcestionar-se el tap\u00eds com a mitj\u00e0 art\u00edstic. Les refer\u00e8ncies hist\u00f2riques v\u00e9nen a la ment amb els tapissos de l’Edat Mitjana utilitzats com a decoraci\u00f3 per a les parets, alhora que representaven, o millor dit, documentaven, esdeveniments hist\u00f2rics com batalles i temes sovint religiosos. En un avan\u00e7 r\u00e0pid fins al segle XX, ens trobem amb tapissos d\u2019Alighiero Boetti i dels seus mapes del m\u00f3n.<\/p>\n

El tap\u00eds ha existit des de fa el seu temps, per\u00f2 no \u00e9s fins fa poc que ha arribat al primer pla com un important, encara que descuidat -o passat per alt-, mitj\u00e0 art\u00edstic. A la Biennal d’enguany es van poder observar els tapissos, gaireb\u00e9 psicod\u00e8lics, de Papa Ibra Tall, i a la dOCUMENTA de l’any passat es va mostrar una quantitat substancial d’aquest tipus d\u2019obres. Des de tapissos de Hannah Ryggen dels anys 1930 i 1940 -que van actuar com una forta cr\u00edtica contra els r\u00e8gims feixistes europeus, a un dels mapes del m\u00f3n de Boetti, passant per tapissos encarregats de Goshka Macuga, comentant els recents desastres a l’Afganistan; els tapissos demostren una complexitat peculiar. Apunten representacions pict\u00f2riques mentre fan al\u00b7lusi\u00f3 a un tipus d’art basat en el proc\u00e9s, on el proc\u00e9s de teixit es considera tant artesania com art; actuen com a elements purament decoratius i tamb\u00e9 poden exercir la cr\u00edtica sociopol\u00edtica.<\/p>\n

Stingel afegeix a les dimensions esmentades una m\u00e9s: la seva catifa\/tap\u00eds \u00e9s tant horitzontal -seguint la tradici\u00f3 de la Fu\u03b2teppich (catifa de peus)-, com vertical -Wandteppich (catifa de paret)- i per tant, adquireix una qualitat gaireb\u00e9 escult\u00f2rica. S’interessa per les dimensions arquitect\u00f2niques per les quals el tap\u00eds contribueix a l’espai i el continu creat per l’experi\u00e8ncia del visitant. El tap\u00eds es transforma en un element interactiu de l’exposici\u00f3, ja que genera un context, aix\u00ed com un fons: a la primera planta, pintures abstractes i monocrom\u00e0tiques de Stingel, i al segon pis, pintures fotorealistes i grisalles s\u2019observen contra el tap\u00eds. A m\u00e9s, l’artista fa refer\u00e8ncia a les teories de Freud i la psicoan\u00e0lisi, i per tant tamb\u00e9 es pot interpretar la seva visita a l’exposici\u00f3 com una penetraci\u00f3 en el laberint del propi subconscient.<\/p>\n

De l’homogene\u00eftat visual i espacial d’aquest laberint f\u00edsic emanava una sensaci\u00f3 serena, on el temps es condemnava a l’ostracisme i refor\u00e7ava la impressi\u00f3 d’estar perdut en el propi subconscient. Alhora, l’obra feia refer\u00e8ncia a la hist\u00f2ria de Ven\u00e8cia i a l’antiga import\u00e0ncia de la ciutat com a epicentre d’intercanvi cultural i comercial entre Orient i Occident. \u00c9s dif\u00edcil negar la funci\u00f3 de les m\u00faltiples capes d’aquest treball, el seu car\u00e0cter “atemporal”, amb les connotacions hist\u00f2riques i la seva import\u00e0ncia en les pr\u00e0ctiques art\u00edstiques i curatorials contempor\u00e0nies.<\/p>\n","protected":false},"excerpt":{"rendered":"

Tot i que la Biennal de Ven\u00e8cia va ser el major esdeveniment d’art de l’estiu passat, una altra gran sorpresa estava just a la volta de la cantonada: l’exposici\u00f3 monogr\u00e0fica…<\/p>\n","protected":false},"author":1308,"featured_media":8537,"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":"\nRudolf Stingel i l'art del tap\u00eds – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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