{"id":8595,"date":"2014-01-21T02:00:00","date_gmt":"2014-01-21T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/01\/21\/un-buit-a-la-paret-sssh-a-la\/"},"modified":"2014-01-21T02:00:00","modified_gmt":"2014-01-21T02:00:00","slug":"un-buit-a-la-paret-sssh-a-la","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/un-buit-a-la-paret-sssh-a-la\/","title":{"rendered":"Un buit a la paret. Sssh! a la Galeria Nuble, Santander"},"content":{"rendered":"

\"Angela
\nEn un dels seus poemes Lezama Lima[[\u201cPabell\u00f3n del Vac\u00edo\u201d, en El reino de la imagen, Caracas, Biblioteca Ayacucho, 1981, p. 119.]] plasma la mirada d’una veu l\u00edrica que s’atura a observar all\u00e0 on aparentment ning\u00fa hi veu. Necessita d’un lloc, d’un espai en blanc, una esp\u00e8cie d’alto en la percepci\u00f3 de l’entorn per apostar per la creaci\u00f3 d’un univers po\u00e8tic. El buit s’introdueix a la paret gaudint d’una contemplaci\u00f3 incessant.<\/p>\n

\u00bfQuantes vegades ens aturem a pensar en tot all\u00f2 que se’ns escapa? En tot all\u00f2 que realment<\/em> no veiem? \u00bfEn quant d\u2019incapacitats n\u2019estem per, en un m\u00f3n ple d’informaci\u00f3; globalitzat; estandarditzat; post-ideol\u00f2gic; sentir, reflexionar (interioritzar el que llegim), comunicar o comunicar-nos? El tokonoma a la paret tra\u00e7at per Lezama enlla\u00e7a amb la urg\u00e8ncia de “deixar moments en blanc, d\u2019obligar-nos a pensar i omplir-los amb la veu que sona en el nostre interior quan el m\u00e9s gran dels silencis es fa patent”. S\u00f3n aquests moments en blanc, aquests petits buits, aquests “silencis que deixen rere seu una s\u00e8rie de revelacions”, els que s’obren en l’exposici\u00f3 Sssh! Del silenci un llenguatge<\/a><\/em>, curada per \u00c1ngel Calvo Ulloa i presentada a la Galeria Nuble, a Santander fins al pr\u00f2xim quatre de febrer.<\/p>\n

Al costat de la coher\u00e8ncia del concepte expositiu, Sssh! destaca com exemple d’encertada col\u00b7laboraci\u00f3 entre galeria i comissari, una pr\u00e0ctica que certament contribueix a dinamitzar la cultura, oferint noves possibilitats davant de la incertesa i l\u2019imp\u00e0s<\/em> institucional regnants. La mostra permet apreciar el treball de set joves artistes amb una s\u00f2lida traject\u00f2ria -Matt Keegan; Angela Detanico & Rafael Lain; Javier N\u00fa\u00f1ez Gasco; Suso Fandi\u00f1o; Emilio Rojas i Ra\u00fal Hevia-, en els quals preval un inter\u00e8s per les m\u00faltiples possibilitats del llenguatge i les seves diferents interpretacions visuals, una inquietud manifesta en bona part del fer contemporani per explorar fins al l\u00edmit els mitjans creatius, posar en escac el concepte d’autoria i potenciar la participaci\u00f3 activa de l’ espectador.<\/p>\n

Prendre el text com a punt de partida i al mateix temps com a element absent permet desenvolupar aquesta qualitat de manera especial, impulsa un sentit l\u00fadic que busca redescobrir la quotidianitat, despertar la consci\u00e8ncia i obrir el camp de les percepcions. Aix\u00ed, podem endevinar les notes deixades per Hevia en els seus quaderns insistentment tatxats amb retolador negre, les frases o paraules en els dibuixos (sopes de lletres) de Keegan; repensar conceptes com la poesia o all\u00f2 visible\/invisible en el joc de frases que disposa Emilio Rojas, algunes perceptibles \u00fanicament per l’empremta dels car\u00e0cters; seguir l’impacte de la frase escrita amb trets sobre la paret de Nu\u00f1ez Gasco, o reflexionar davant l’inquietant gest de Suso Fandi\u00f1o: escriure i esborrar immediatament despr\u00e9s l’equival\u00e8ncia Kunst = Kapital<\/em> anotada per Joseph Beuys. Per la seva banda, el duo d’artistes brasilers Detanico & Lain, amb el seu peculiar vocabulari d’objectes apilats, formen la paraula Impermanence<\/em> amb terrossos de sucre col\u00b7locats a l’entrada de la galeria, a merc\u00e8 dels canvis ambientals o altres imprevistos que alterin o modifiquin completament el seu significat.<\/p>\n

La forma art\u00edstica no est\u00e0 prefixada en aquestes obres, ni tampoc els despla\u00e7aments de sentits sobre els quals indaga. Com la m\u00e0quina narrativa de Samuel Beckett, se situen “entre el dir i el callar, entre la veu concreta de qu\u00e8 parla i les proliferants veus que origina\u201d[[Cfr. Fernando Castro Fl\u00f3rez: \u201cSamuel Beckett. La compa\u00f1\u00eda del silencio\u201d en Elogio de la pereza. Notas para una est\u00e9tica del cansancio, Imaginarium, Madrid, 1992, p.125.]]. Aparents buits darrere dels quals s’escolten cabals, s’intueixen hist\u00f2ries. La dissoluci\u00f3, l’esborrat continu del llenguatge \u00e9s en definitiva una invitaci\u00f3 a la seva transformaci\u00f3. El desig d’indagar, d’anar m\u00e9s enll\u00e0 del que \u00e9s aparent. Partir de zero. Alterar els codis heretats. Descobrir el que s’amaga darrere les esquerdes del quadrat negre<\/em> de Malevich, la pot\u00e8ncia inspiradora del repte silenci\u00f3s<\/em> o les escletxes fundacionals del tokonoma.<\/p>\n","protected":false},"excerpt":{"rendered":"

En un dels seus poemes Lezama Lima[[\u201cPabell\u00f3n del Vac\u00edo\u201d, en El reino de la imagen, Caracas, Biblioteca Ayacucho, 1981, p. 119.]] plasma la mirada d’una veu l\u00edrica que s’atura a…<\/p>\n","protected":false},"author":1314,"featured_media":8569,"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":"\nUn buit a la paret. 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