{"id":8783,"date":"2014-03-24T02:00:00","date_gmt":"2014-03-24T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/03\/24\/haver-fet-un-lloc-on\/"},"modified":"2014-03-24T02:00:00","modified_gmt":"2014-03-24T02:00:00","slug":"haver-fet-un-lloc-on","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/haver-fet-un-lloc-on\/","title":{"rendered":"Haver fet un lloc on\u2026"},"content":{"rendered":"

\"imgdin_spimatges_3303.jpg\"
\nAl comissari d’exposicions li est\u00e0 passant el que hauria passar-li al director d’una entitat banc\u00e0ria. Que quan li pregunten quina \u00e9s la seva professi\u00f3, moltes vegades respon amb incomoditat. Tant per haver d’explicar freq\u00fcentment en qu\u00e8 consisteixen les seves funcions per a aquells que desconeixen aquesta figura del context art\u00edstic com per ser una mena d’autor a trav\u00e9s d’altres i de manera expl\u00edcita, ja que no existeix encara tal cosa com el comissariat sense artistes i sense obres d’art. Encara que ara se li digui comissariat a la selecci\u00f3 d’uns materials determinats al voltant d’un objecte d’estudi. Des d’aquesta perspectiva, un bibli\u00f2graf tamb\u00e9 entraria en la categoria.<\/p>\n

A causa del poder i la representaci\u00f3 d’autoritat de certs subjectes o posicions comissarials, la figura general del comissari ha passat de ser una entitat que reclamava el seu propi estatut (i una veu pr\u00f2pia) dins d’un context laboral, a ser vist com una mena d\u2019entel\u00e8quia cultural que treballa amb la plusv\u00e0lua simb\u00f2lica -i no nom\u00e9s- de l’art. \u00c9s potser a causa d’aquesta q\u00fcesti\u00f3 de la plusv\u00e0lua (assenyalada per Peio Aguirre recentment) que molts comissaris senten el pudor que no senten els directors de banc en enunciar en veu alta que la seva pr\u00e0ctica intel\u00b7lectual deriva, en un primer instant, del treball de tercers. Li succeeix a m\u00e9s al comissari que, per molt que citi a Foucault i manegui amb m\u00e9s o menys facilitat les seves teories al voltant del poder, ell mateix corre el perill constant de representar i afavorir els v\u00e8rtexs d’un sistema jer\u00e0rquic que existeix. I que ho fa dins d’un territori -l’art\u00edstic- que presumeix en nombroses ocasions d’exercir resist\u00e8ncia cap a un r\u00e8gim de poder que igualment retro-alimenta.<\/p>\n

Potser aquest comissari procliu al rubor tingui en ment invectives com les de Daniel Buren quan critica la conversi\u00f3 de l’artista en int\u00e8rpret i la del comissari en autor, reclamant m\u00e9s (macro) esdeveniments comissariats per artistes. Com si un artista fos “menys comissari” en ocupar aquesta funci\u00f3 o com si el productor cultural multitasking<\/em> no exist\u00eds des de fa anys en contextos m\u00e9s humils que els que freq\u00fcenta Buren. Potser aquest comissari a qui li pesa el comissariat \u00e9s conscient tamb\u00e9 que la seva latent posici\u00f3 d’autoritat deriva de l’hegemonia cultural del discurs dins de les pr\u00e0ctiques culturals i de la seva historiografia.<\/p>\n

Passa que aquest comissari va a una exposici\u00f3 com Haver fet un lloc on els artistes tinguin dret a equivocar-se. Hist\u00f2ries de l’Espai 10 i l’Espai 13 de la Fundaci\u00f3 Joan Mir\u00f3<\/em>. Exposici\u00f3 en la qual la figura del comissari \u00e9s capital, Manuel Segade per ser m\u00e9s concrets. Tamb\u00e9 la de l’equip d’investigaci\u00f3 i el de la pr\u00f2pia fundaci\u00f3 en ser un projecte en retrospectiva que exigeix moltes hores d’arxiu per presentar una l\u00ednia de temps discont\u00ednua amb una hist\u00f2ria parcial del primer espai catal\u00e0 dedicat a l’art emergent abans que aquesta noci\u00f3 ni tan sols exist\u00eds. Per les sales d’aquest espai han passat m\u00e9s de 500 artistes, 30 comissaris i m\u00e9s de 250 exposicions. S’ent\u00e9n des d’aquest material ingent la pertin\u00e8ncia -fins i tot legitimitat- d’una acci\u00f3 comissarial expl\u00edcita que no es pot permetre els sentiments de culpa que genera qualsevol elecci\u00f3 per tot el que aquesta exclou.<\/p>\n

El fet que una instituci\u00f3 decideixi, al cap de 35 anys, generar una retrospectiva que legitimi la seva pr\u00f2pia hist\u00f2ria, el seu present i el seu futur, no \u00e9s una cosa nova. Haver fet un lloc on els artistes tinguin dret a equivocar-se. Hist\u00f2ries de l’Espai 10 i l’Espai 13 de la Fundaci\u00f3 Joan Mir\u00f3<\/em> participa d’ aquesta voluntat autoconscient de desempolsar arxius per restaurar el capital simb\u00f2lic de i a trav\u00e9s del pret\u00e8rit art\u00edstic. Servint-se a m\u00e9s d’una actuaci\u00f3 comissarial que no vol jugar a fet i amagar amb l’espectador. \u00c9s aqu\u00ed on aquell comissari propens al rubor es troba amb una segona sorpresa, a punt de superar la de la pr\u00e0ctica comissarial de l’autor amb principi d’autoritat: el poder d’un display que no es manifesta a trav\u00e9s de la ret\u00f2rica de l’invisible. Per\u00f2 la s\u00e8rie de m\u00f2duls al llarg de l’exposici\u00f3 se serveix d’una estrat\u00e8gia per poder envair l’espai com ho fa. I aquesta \u00e9s la situaci\u00f3 particular d’un display que tamb\u00e9 \u00e9s obra d’art, creat per un artista i no per un dissenyador tafaner. Un sistema modular -el de Xabier Salaberria -que en la seva exhibici\u00f3 expl\u00edcita descarrega, per\u00f2, l’arquitectura original de l’edifici de Sert. I que ens recorda que fa d\u00e8cades eren possibles i m\u00e9s freq\u00fcents aquest tipus d’interfer\u00e8ncies. Quan les obres d’art encara no havien rebutjat la seva condici\u00f3 aur\u00e0tica i quan el comissari no tenia per qu\u00e8 ruboritzar-se perqu\u00e8 ni tan sols tenia una funci\u00f3 o un nom concrets.<\/p>\n","protected":false},"excerpt":{"rendered":"

Al comissari d’exposicions li est\u00e0 passant el que hauria passar-li al director d’una entitat banc\u00e0ria. Que quan li pregunten quina \u00e9s la seva professi\u00f3, moltes vegades respon amb incomoditat. Tant…<\/p>\n","protected":false},"author":1273,"featured_media":8729,"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":"\nHaver fet un lloc on\u2026 – 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\/haver-fet-un-lloc-on\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Haver fet un lloc on\u2026 – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Al comissari d’exposicions li est\u00e0 passant el que hauria passar-li al director d’una entitat banc\u00e0ria. 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