{"id":8642,"date":"2014-02-07T02:00:00","date_gmt":"2014-02-07T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/02\/07\/israel-galvan-artista-contemporani\/"},"modified":"2014-02-07T02:00:00","modified_gmt":"2014-02-07T02:00:00","slug":"israel-galvan-artista-contemporani","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/israel-galvan-artista-contemporani\/","title":{"rendered":"Israel Galv\u00e1n, artista contemporani"},"content":{"rendered":"<p><img decoding=\"async\" class=\" alignleft size-full wp-image-8612\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2014\/02\/970308_649776278367283_901836360_n.jpg\" alt=\"970308_649776278367283_901836360_n.jpg\" align=\"left\" width=\"670\" height=\"446\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2014\/02\/970308_649776278367283_901836360_n.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2014\/02\/970308_649776278367283_901836360_n-595x396.jpg 595w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/><br \/>\nLa hip\u00f2tesi \u00e9s la seg\u00fcent: I si les obres m\u00e9s importants de Pedro G. Romero fossin les que ha <em>realitzat<\/em> Israel Galv\u00e1n? En altres paraules: \u00bfI si l&#8217;arxiu, que \u00e9s la figura principal de la producci\u00f3 de l&#8217;artista andal\u00fas, fos molt m\u00e9s poder\u00f3s quan s&#8217;oculta, quan es difumina en l&#8217;escenografia i en la gestualitat, que quan es formalitza, es torna f\u00edsic, s&#8217;exhibeix? Que jo recordi, he vist obres i exposicions de Romero al CCCB, la Fundaci\u00f3 T\u00e0pies, el Reina Sofia i el Museu Picasso: cap d&#8217;aquestes peces o mostres em va semblar tan interessant com els espectacles de Galv\u00e1n.<\/p>\n<p>En ells Romero actua com a guionista i documentalista musical, alhora que col\u00b7labora en la dramat\u00fargia. Georges Didi-Huberman, a <em>El bailaor de soledades<\/em> (Pre-textos, 2008), el seu imprescindible aproximaci\u00f3 filos\u00f2fica a l&#8217;art de Galv\u00e1n, parla poc d&#8217;art contemporani. En la l\u00ednia de tants altres intel\u00b7lectuals europeus i nord-americans, la seva fascinaci\u00f3 pel flamenc el porta cap al ball i el toreig. Per\u00f2 el que diu sobre art contemporani \u00e9s altament significatiu: afirma la grandesa de Galv\u00e1n i el defineix com &#8220;mai grandiloq\u00fcent, mai ret\u00f2ric&#8221;. En alguns moments uneix els dos artistes: &#8220;l&#8217;obra d&#8217;Israel i de Pedro G. Romero es proposa sobretot construir una musicalitat&#8221;. Desconec els detalls del proc\u00e9s de conceptualitzaci\u00f3 i de realitzaci\u00f3, col\u00b7laboratiu, per\u00f2 s\u00ed que puc intuir en el resultat. Per exemple, en <em><a href=\"http:\/\/mercatflors.cat\/es\/espectacle\/lo-real-2\/\">Lo real<\/a><\/em>, es recorren can\u00e7ons i poemes del segle XX, des del \u201csonsonete\u201d de Los Piconeros, que Imperio Argentina va interpretar a la pel\u00b7l\u00edcula <em>Andalusische N\u00e4chte<\/em> fins a &#8220;Hitler in my heart&#8221; d&#8217;Antony &#038; The Johnsons, passant per &#8220;Fuga de muerte&#8221; de Paul Celan, en una intel\u00b7ligent harmonia que deu ser obra de Romero.<\/p>\n<p>Aix\u00f2 no obstant, a difer\u00e8ncia del que passa en una exposici\u00f3, on l&#8217;artista-comissari revela textualment el seu gui\u00f3, de manera que la ruta es converteix en f\u00edsica i discursiva, en un espectacle de dansa el protagonisme \u00e9s performatiu. L&#8217;actor-ballar\u00ed-protagonista. El rol de l&#8217;espectador \u00e9s bastant passiu i, sobretot, es troba desinformat: no hi ha cat\u00e0leg, no hi ha introducci\u00f3 assag\u00edstica a cada part o secci\u00f3, no hi ha m\u00e9s informaci\u00f3 que la del fullet.<\/p>\n<p>La interpretaci\u00f3 de Galv\u00e1n i els seus ballarins i m\u00fasics \u00e9s tan poderosa que all\u00f2 intel\u00b7lectual triga molt d\u2019arribar. En un <em>d\u00e9calage<\/em> que dif\u00edcilment passa en una exposici\u00f3 d&#8217;art contemporani. Amb altres paraules: Galv\u00e1n gaireb\u00e9 aconsegueix esborrar Romero. L&#8217;artista i el seu cos creen i destrueixen l&#8217;obra al mateix temps en qu\u00e8 la interpreten. El v\u00eddeo o la meva mem\u00f2ria no seran m\u00e9s que registres d&#8217;una obra fuga\u00e7 que ja no existeix. A <em>Economia: Picasso<\/em>, l&#8217;exposici\u00f3 que va comissariar al costat de Valent\u00ed Roma  l&#8217;artista andal\u00fas va gosar situar el seu Arxiu F.X. a la mateixa al\u00e7ada que l&#8217;obra picassiana. La immaterialitat de l&#8217;art contemporani de Galv\u00e1n fa que la comparaci\u00f3 o el di\u00e0leg entre tots dos sigui molt m\u00e9s subtil. El cos del bailaor apareix amb una for\u00e7a desproporcionada. L&#8217;artista, ens diu aquest cos estrany, aquesta gimn\u00e0stica brutal, s\u00f3c jo. Tota la resta nom\u00e9s va existir perqu\u00e8 jo exist\u00eds.<\/p>\n<p>El meu descobriment personal, sens dubte tard\u00e0, d&#8217;Israel Galv\u00e1n, m&#8217;ha perm\u00e8s re-connectar amb les meves arrels andaluses (el meu pare \u00e9s de l&#8217;Alpujarra, la meva mare de C\u00f2rdova) a trav\u00e9s de l&#8217;art contemporani. Per\u00f2 al mateix temps m&#8217;ha fet desconfiar dels formats, les ret\u00f2riques en qu\u00e8 es difon el que comunament anomenem &#8220;art contemporani&#8221;. No tinc respostes sobre aix\u00f2. Per\u00f2 crec que t\u00e9 sentit, no obstant, formular les preguntes.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La hip\u00f2tesi \u00e9s la seg\u00fcent: I si les obres m\u00e9s importants de Pedro G. Romero fossin les que ha realitzat Israel Galv\u00e1n? En altres paraules: \u00bfI si l&#8217;arxiu, que \u00e9s&#8230;<\/p>\n","protected":false},"author":1316,"featured_media":8612,"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":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Israel Galv\u00e1n, artista contemporani &#8211; 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\/israel-galvan-artista-contemporani\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Israel Galv\u00e1n, artista contemporani &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"La hip\u00f2tesi \u00e9s la seg\u00fcent: I si les obres m\u00e9s importants de Pedro G. 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