aqu\u00ed<\/a>. En ocasi\u00f3 de Documenta 12 Adri\u00e0 va decidir afegir una taula per a dues persones al seu restaurant, a 1200 km. de dist\u00e0ncia de Kassel perqu\u00e8 dos afortunats diferents sopessin cada dia all\u00e0 durant l’esdeveniment art\u00edstic. Quan a la roda de premsa el comissari responsable va comunicar-ho, alg\u00fa va preguntar qu\u00e8 caldria fer per ser convidat: “els que ho demanin poden estar segurs que no seran elegits”, Roger Buergel, el comissari de l’edici\u00f3 de Documenta ho va deixar clar: l’art d’Adri\u00e0 \u00e9s nom\u00e9s per a uns pocs, social i econ\u00f2micament acceptats.<\/p>\nEn les seves declaracions Adri\u00e0 repeteix sistem\u00e0ticament un parell d’idees: d’una banda, una afiliaci\u00f3 incondicional a la creativitat, i de l’altra, una inevitable connexi\u00f3 entre art i emoci\u00f3. \u00c9s cert que l’emoci\u00f3 pot produir pensament, per\u00f2 mai si \u00e9s una fi en si mateixa, aix\u00f2 \u00e9s el que Debord, fa m\u00e9s de 40 anys, va prescriure com a espectacle. Una i altra vegada, Adri\u00e0 es refereix al seu treball com a experi\u00e8ncia per justificar la seva pres\u00e8ncia en el m\u00f3n de l’art. Sens dubte ha de ser una experi\u00e8ncia, igual que tota la resta, qualificar alguna cosa simplement com experi\u00e8ncia \u00e9s recon\u00e8ixer la seva falta de contingut. “Busquem experi\u00e8ncies a trav\u00e9s de la novetat”, respon Adri\u00e0 a Maurizio Cattelan quan aquest li pregunta per la manera en qu\u00e8 defineix la seva cuina. Una experi\u00e8ncia nova. Adri\u00e0 defineix el seu treball com el paradigma del capitalisme: buit de contingut i flexible a trav\u00e9s de la novetat. L’intent d’incorporar-lo al panorama de l’art \u00e9s l’assetjament per la privatitzaci\u00f3 de l’experi\u00e8ncia comuna. El seu treball realment \u00e9s sobre un tipus d’experi\u00e8ncia, l’experi\u00e8ncia individual i econ\u00f2micament elitista.<\/p>\n
El delit gustatiu en l’art \u00e9s l’equivalent modern de l’art \u00f2ptic contra el qual va carregar contundentment Duchamp. No \u00e9s la primera vegada que la cuina, i el seu context, interv\u00e9 en el desenvolupament de l’art contemporani, per\u00f2 sens dubte el d’Adri\u00e0 \u00e9s un dels intents m\u00e9s maldestres. Aquestes tesis – i les dels seus ac\u00f2lits – incideixen en una s\u00e8rie de “conceptes heretats com a creaci\u00f3 i genialitat, perennitat i misteri, l’aplicaci\u00f3 incontrolada dels quals, i de moment dif\u00edcilment controlable, porta a l’elaboraci\u00f3 del material f\u00e0ctic en el sentit feixista”, prenent les paraules de Benjamin. Ni rastre de la polititzaci\u00f3 de l’art en Adri\u00e0.<\/p>\n","protected":false},"excerpt":{"rendered":"
“Ferran Adri\u00e0: Notes sobre la creativitat” \u00e9s l’exposici\u00f3 que acaba d’inaugurar el Drawing Center de Nova York, i que seguir\u00e0 en itiner\u00e0ncia per altres museus i centres d’art dels EUA….<\/p>\n","protected":false},"author":1313,"featured_media":8632,"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":"\n
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