{"id":8550,"date":"2014-01-14T02:00:00","date_gmt":"2014-01-14T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/01\/14\/una-mendieta-trobada\/"},"modified":"2014-01-14T02:00:00","modified_gmt":"2014-01-14T02:00:00","slug":"una-mendieta-trobada","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/una-mendieta-trobada\/","title":{"rendered":"Una Mendieta trobada"},"content":{"rendered":"

\"Ana
\nMoltes imatges de verges a la cultura cristiana han estat trobades, que no aparegudes, de manera sorprenent, en coves, meg\u00e0lits o grans roques, fonts, torrents i llocs d’aigua. Molts d’aquests llocs havien estat de culte precristi\u00e0 -per tant les imatges podien pert\u00e0nyer a altres cultes i tradicions-, per\u00f2 la seva m\u00e0gica aparici\u00f3 les convertia autom\u00e0ticament en s\u00edmbols de cristiandat rupestre. Sovint, quan es troba la imatge, aquesta es resisteix a ser traslladada. Alg\u00fa la vol baixar a la ciutat, per\u00f2 la imatge fuig, es fa tan pesada que resulta impossible moure o desapareix de l’esgl\u00e9sia on l’han traslladat. Es tracta d’un senyal: la imatge vol ser venerada en el lloc on va ser trobada, i no a la terra baixa o a la ciutat, que s\u00f3n considerats llocs profans.<\/p>\n

Dona, no blanca, d’origen convuls i amb final dram\u00e0tic. Feminista, land artist<\/em> i performer, molts s\u00f3n els adjectius que v\u00e9nen a la ment en rec\u00f3rrer la gran retrospectiva que la Hayward Gallery<\/a> londinenca dedica a l’artista cubana Ana Mendieta. Una artista trobada per molts moviments art\u00edstics en els \u00faltims trenta anys, i en \u00faltima inst\u00e0ncia per aquesta galeria.<\/p>\n

La teoria curatorial m\u00e9s recent ens diu que suposadament una exposici\u00f3 ha de ser la sintaxi mitjan\u00e7ant la qual les obres d’art es posen al servei d’una construcci\u00f3 discursiva, la formalitzaci\u00f3 en l’espai d’un postulat te\u00f2ric. No obstant aix\u00f2, de totes les possibles l\u00ednies de fuga que el treball de Mendieta planteja, un cop m\u00e9s s’ha optat per una successi\u00f3 cronol\u00f2gica dels seus treballs: s\u00e8ries de performances presentades en pantalles, algunes de les seves obres i dibuixos penjats a la paret, aix\u00ed com exemples de les seves escultures rupestres per acabar amb una presentaci\u00f3 del seu arxiu personal a manera de tancament.<\/p>\n

No hi ha dubte que l’obra de Mendieta no \u00e9s senzilla, Camnitzer l’ha anomenat “l’art Spanglish”, fruit del seu sentir-se “entre dues cultures”. A la seva obra sempre est\u00e0 present aquesta sensaci\u00f3 d’estar al mig: usant, d’una banda, l’est\u00e8tica visual regnant al Nova York de la seva \u00e8poca reflectida en el seu \u00fas del v\u00eddeo i la fotografia, barrejada amb un contingut carregat de l’espiritualitat llatinoamericana. Un art relacionat amb l’experi\u00e8ncia de vida, de la seva pr\u00f2pia vida, tornant a la terra com a mare a trav\u00e9s dels seus orificis, dels espais d’on neix la vida, de la recerca dels or\u00edgens, adoptant un ritualisme tant real com simb\u00f2lic que desenvolupa una idea de la religi\u00f3 des de la intimitat.<\/p>\n

Per\u00f2 tota aquesta poesia no pot amagar la pot\u00e8ncia conceptual d’una obra valenta i pol\u00edticament compromesa que transgredeix els l\u00edmits de la representaci\u00f3 tradicional. No ha de ser exotitzada com l’obra d’una maga de la terra<\/em>[[Magiciens de la terre va ser una exposici\u00f3 celebrada al centre Pompidou l\u2019any 1989. Una exposici\u00f3 pol\u00e8mica, a la qual no se li pot negar el seu paper en la hist\u00f2ria de l’art, perqu\u00e8 va ser la primera vegada que un museu mirava l’art “no occidental” a Occident i que intentava trencar amb l’actitud rom\u00e0ntica del “fora” i de la idea de cultura aliena, amb m\u00e9s o menys \u00e8xit.]], ja que, encara que l’obra d’Ana Mendieta no es pot entendre sense les seves circumst\u00e0ncies, no s\u00f3n aquestes l’\u00fanic que la seva obra d\u00f3na entendre. El treball de Mendieta inclou la fotografia, el v\u00eddeo i moltes idees sobre l’alteritat, vint anys abans de la irrupci\u00f3 d\u2019all\u00f2 post-colonial com a tema; el potencial pol\u00edtic d\u2019all\u00f2 ritual i d\u2019all\u00f2 primitiu, les possibilitats performatives del cos, etc. L\u00ednies de fuga, possibilitats de treball, elements per conformar un discurs, una nova forma de mirar cap a un treball extens o de construir a partir d’ell. Per\u00f2 el que veiem a la Hayward Gallery \u00e9s un discurs que apel\u00b7la a la totalitat de la seva obra, des de la sortida de Cuba fins a la seva mort a Nova York. La vida d’una dona, no blanca, d’origen convuls i final dram\u00e0tic.<\/p>\n

Ana Mendieta, igual que aquestes verges de les que parlava al principi, ha estat trobada per molts i aqu\u00ed radica la seva pot\u00e8ncia, la d’una artista per a la qual el seu estar enmig<\/em> va contaminar tota la seva obra, suggerint diferents maneres de mirar cap a ella, d’identificar-se amb ella. Les seves imatges, de la mateixa manera que aquestes verges precristianes sempre van mantenir el contacte amb la terra, es resisteixen a ser traslladades, mantenint la seva identitat, per\u00f2 no es resisteixen a ser interpretades, a ser dotades de nous sentits, fins i tot a ser subvertides en un proc\u00e9s d’iconocl\u00e0stia natural a tot acte religi\u00f3s. Per\u00f2 el que veiem \u00e9s, una vegada m\u00e9s, la capella constru\u00efda per venerar a una estranyesa d’origen desconegut, i per tant div\u00ed.<\/p>\n","protected":false},"excerpt":{"rendered":"

Moltes imatges de verges a la cultura cristiana han estat trobades, que no aparegudes, de manera sorprenent, en coves, meg\u00e0lits o grans roques, fonts, torrents i llocs d’aigua. Molts d’aquests…<\/p>\n","protected":false},"author":1311,"featured_media":8542,"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":"\nUna Mendieta trobada – 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\/una-mendieta-trobada\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Una Mendieta trobada – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Moltes imatges de verges a la cultura cristiana han estat trobades, que no aparegudes, de manera sorprenent, en coves, meg\u00e0lits o grans roques, fonts, torrents i llocs d’aigua. 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