{"id":8620,"date":"2014-01-29T02:00:00","date_gmt":"2014-01-29T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/01\/29\/tallers-pobres-i-altres-llocs-de\/"},"modified":"2014-01-29T02:00:00","modified_gmt":"2014-01-29T02:00:00","slug":"tallers-pobres-i-altres-llocs-de","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/tallers-pobres-i-altres-llocs-de\/","title":{"rendered":"Tallers pobres i altres llocs de producci\u00f3 d’art"},"content":{"rendered":"

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\nL’altre dia vaig topar amb un terme recent encunyat que em va semblar perfecte per a descriure el context de la producci\u00f3 art\u00edstica actual, particularment la de l’art emergent: \u00e9s el d\u2019 \u201catelier pobre\u201d, arme Atelier en l’original alemany. El vaig llegir de Michael Glasmeier al text que ha escrit pel cat\u00e0leg<\/a> que documenta les activitats dutes a terme entre 2011 i 2012 de tres iniciatives: Ausstellungsraum AD<\/a>, Der 4. Raum<\/a> i Yerh 44<\/a>. El text introductori transcendeix aquest context particular i posa sobre la taula una q\u00fcesti\u00f3 que \u00e9s extrapolable m\u00e9s enll\u00e0 d’aquests projectes concrets.<\/p>\n

Les tres iniciatives tenen en com\u00fa el fet de ser espais privats dedicats a l’exposici\u00f3 de projectes art\u00edstics de creadors emergents a Alemanya -els dos primers a Bremen i el tercer a Leipzig, compartien tamb\u00e9 una relaci\u00f3 m\u00e9s o menys directa amb l’escola de Belles Arts de la ciutat hanse\u00e0tica (la HFK) i el prop\u00f2sit de convidar sempre a artistes que problematitzessin l’espai d’exhibici\u00f3 en si, que prenguessin com a punt de partida el propi context del lloc en el qual exposaven.<\/p>\n

El Ausstellungsraum AD va tenir una programaci\u00f3<\/a> estable durant una mica m\u00e9s d’un any, gestionat per dos estudiants de la HFK a qui s\u2019havia cedit el local -una antiga carnisseria- a canvi que visquessin i treballessin all\u00e0. La pr\u00f2pia botiga, la cambra frigor\u00edfica i un magatzem subterrani: els artistes convidats podien utilitzar qualsevol d’aquests llocs, aix\u00ed com la vitrina-aparador que separava el local del carrer i fins i tot altres espais com la cuina.<\/p>\n

Der 4. Raum, tamb\u00e9 a Bremen, ocupava l’habitaci\u00f3 d’un pis<\/a> compartit desocupada mentre el seu habitant passava un semestre a l’estranger. La quarta habitaci\u00f3 va ser un projecte temporal que va combinar la presentaci\u00f3 de treballs d’art centrats en la fricci\u00f3 entre la vida quotidiana i el treball art\u00edstic, sovint en duos, i esdeveniments relacionats amb la m\u00fasica, com les vetllades Time and Place, trobades setmanals amb mel\u00f2mans que acudien amb els seus discos per punxar i escoltar-los en companyia.<\/p>\n

Finalment, Yerh 44, a Leipzig, va ser el projecte dels creatius associats a l’estudi de disseny Cabinet Gold van d’Vlies, un altre espai mixt d’habitatge i trobada en qu\u00e8 es van succeir exposicions i esdeveniments relacionats amb el m\u00f3n de l’edici\u00f3 de revistes i fanzines en qu\u00e8 van participar tant agents locals com artistes que es despla\u00e7aven des de Bremen, fins que els promotors mateixos es van establir definitivament en aquesta altra ciutat. \u00c9s precisament aquest col\u00b7lectiu el que s’ha encarregat del disseny i edici\u00f3 de la publicaci\u00f3 col\u00b7lectiva que recull aquestes experi\u00e8ncies en les quals s’inclou l’escrit introductori del te\u00f2ric i historiador de l’art Michael Glasmeier, tamb\u00e9 professor a la HFK.<\/p>\n

A partir d’experi\u00e8ncies com aquestes, Glasmeier desenvolupa el concepte de l\u2019 \u201catelier pobre\u201d, preponderant en el context de l’art actual. Tra\u00e7a una evoluci\u00f3 del taller de l’artista com a lloc de producci\u00f3: des de l’\u00e8poca de Rembrandt, en qu\u00e8 aquest era el lloc de la feina i de manufactura; el Post Studio Art amb Baldessari, Buren, Kaprow i d\u2019altres que van redefinir l’estudi de l’ artista com a espai per al desenvolupament de projectes, fins arribar al moment actual, en qu\u00e8 el taller serveix al creador com a espai en el qual fer factures, planejar i redactar correus electr\u00f2nics que el connectin amb el m\u00f3n de l’art i li permetin dur a terme projectes. L’atelier, no com a espai de producci\u00f3 pr\u00f2piament, ni tan sols de desenvolupament d’idees, ja que sovint els projectes estan lligats a espais i situacions concrets i les idees poden tenir en qualsevol lloc, fins i tot en una cafeteria amb connexi\u00f3 wi-fi. L’atelier pobre est\u00e0 vinculat a la idea de l’art ambulant, l’art que pot i necessita moure\u2019s al marge del sistema oficial de museus i galeries. Al final, quan parlem d\u2019\u2018arme ateliers\u2019 estem parlant d’una simbiosi absoluta entre el taller i el lloc d’exposici\u00f3 que permeten a l’artista ampliar el seu camp d’acci\u00f3.<\/p>\n","protected":false},"excerpt":{"rendered":"

L’altre dia vaig topar amb un terme recent encunyat que em va semblar perfecte per a descriure el context de la producci\u00f3 art\u00edstica actual, particularment la de l’art emergent: \u00e9s…<\/p>\n","protected":false},"author":1276,"featured_media":8590,"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":"\nTallers pobres i altres llocs de producci\u00f3 d'art – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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