{"id":8824,"date":"2014-03-08T02:42:00","date_gmt":"2014-03-08T02:42:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/03\/08\/richard-t-walker-en-fabra-i-coats2868\/"},"modified":"2014-03-08T02:42:00","modified_gmt":"2014-03-08T02:42:00","slug":"richard-t-walker-en-fabra-i-coats2868","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/richard-t-walker-en-fabra-i-coats2868\/","title":{"rendered":"Richard T. Walker en Fabra i Coats, performance 1 de mar\u00e7 de 2014"},"content":{"rendered":"

\"1897931_414194392060093_764956557_n.jpg\"
\nLa sala a les fosques, un escenari baix amb dos amplificadors, un peu de micr\u00f2fon i una guitarra ac\u00fastica i, al fons, un tr\u00edptic de pantalles de projecci\u00f3 de v\u00eddeo. Richard T. Walker apareix per un dels laterals, amb una gravadora port\u00e0til de casset penjant del cintur\u00f3 i es col\u00b7loca al centre de l’escenari, davant del peu de micro, d’esquena al p\u00fablic. Quan acciona el reproductor de casset s’encenen els projectors i el tr\u00edptic de pantalles mostra tres v\u00eddeos diferents, tots tres amb imatges de paisatges naturals. La imatge central roman est\u00e0tica i mostra un terreny roc\u00f3s amb muntanyes de fons, les altres dues van canviant en paral\u00b7lel i, encara que mostren paisatges diferents, sempre apareix l’artista d’esquena tocant diferents instruments musicals, gravant sons o emetent ell mateix amb les mans.<\/p>\n

En accionar la gravadora, es reprodueix un discurs sobre l’experi\u00e8ncia de la natura amb la veu de Richard T. Walker. Sobre l’experi\u00e8ncia de la naturalesa o sobre l’acte de la percepci\u00f3 en general i no nom\u00e9s aix\u00f2, sin\u00f3 tamb\u00e9 sobre el fet de descriure amb paraules all\u00f2 que veiem, de trobar la manera d’explicar all\u00f2 que es mira. Si aix\u00f2 \u00e9s el que succeeix la primera vegada que veiem alguna cosa, el que passa la segona vegada \u00e9s que ens centrem en comparar, buscar canvis i difer\u00e8ncies, captar detalls que ens havien passat per alt al principi. \u00c9s a dir que ens tornem un espectador m\u00e9s actiu que, un cop trobades les paraules amb qu\u00e8 parlar d\u2019all\u00f2 vist, t\u00e9 dificultat per veure m\u00e9s enll\u00e0 i canviar la seva percepci\u00f3 primera. En canvi, segueix la gravaci\u00f3, la tercera vegada les coses tornen a ser belles sense m\u00e9s.<\/p>\n

La can\u00e7\u00f3 que canta l’artista despr\u00e9s d’aquest discurs versa sobre el mateix, sobre l’experi\u00e8ncia com a grau que permet percebre i descriure amb m\u00e9s precisi\u00f3 per\u00f2 que alhora fa que el mateix acte de l’observaci\u00f3, i amb aix\u00f2 el de la percepci\u00f3 i la narraci\u00f3 mateixa, perdin espontane\u00eftat, puresa i, en certa manera, tamb\u00e9 innoc\u00e8ncia. Que ja no siguem capa\u00e7os de veure les coses com eren abans, com eren la primera vegada. O s\u00ed, per\u00f2 nom\u00e9s a partir de la repetici\u00f3, de la reproducci\u00f3 del mateix fins que tornem a ser espectadors relaxats que ja no es pregunten el perqu\u00e8 de la reiteraci\u00f3 i nom\u00e9s es preocupen per veure i sentir el que passa aqu\u00ed i ara “com era, una altra vegada”. Acabada la can\u00e7\u00f3, un tema folk tirant a \u00e8pic, Richard T. Walker deixa la seva guitarra a terra, agafa el micr\u00f2fon i el petit amplificador i abandona l’escenari pel lateral, cantant fins que el perdem de vista en la foscor, deixant que la m\u00fasica s’extingeixi com en fade out. I despr\u00e9s ho repeteix tot des del principi dues vegades m\u00e9s exactament igual.<\/p>\n

“The Speed and Eagerness of Meaning (Longer Longing Version)” \u00e9s una reivindicaci\u00f3 de l’experi\u00e8ncia irreflexiva i desinteressada que s’emmarca dins d’un cicle expositiu sobre l’\u00fas de l’escriptura en l’art, concretament en el cap\u00edtol sobre la cr\u00f2nica com transmissi\u00f3 subjectiva d’un esdeveniment. L’esdeveniment, en aquest cas, el coneixem per la carta que ens d\u00f3na l’artista a la sortida de l’espai en el qual ha realitzat la performance, una carta en la qual ens explica la seva experi\u00e8ncia de p\u00e8rdua de la innoc\u00e8ncia pel que fa a la percepci\u00f3 de la naturalesa i en la qual es lamenta de no ser capa\u00e7 de veure el paisatge amb un ull verge, d’haver adquirit un grau d’experi\u00e8ncia sense retorn que no el deixa acostar-se a la naturalesa de la mateixa manera que ho havia fet amb anterioritat.<\/p>\n

Richard T. Walker utilitza aqu\u00ed la repetici\u00f3 com a estrat\u00e8gia narrativa per\u00f2 tamb\u00e9 com a exercici per a una experi\u00e8ncia gaireb\u00e9 m\u00edstica del que s’ha vist, en aquest cas de la natura, amb un clar tint de neofolk que l’emparenta amb el Romanticisme. Aix\u00ed es pot entendre tamb\u00e9 la posici\u00f3 de l’artista pel que fa al p\u00fablic de la seva performance, presentant com un Friedrich davant el paisatge sublim, incloent-se en la imatge central del tr\u00edptic i incloent l’espectador amb ell, i aix\u00ed tamb\u00e9 d\u00f3na tot el sentit als sons gravats a l’aire lliure que serveixen de fons a la melodia de guitarra i veu, creant un conjunt que percebem en la seva totalitat nom\u00e9s gr\u00e0cies a la repetici\u00f3 successiva de les mateixes accions i que cobra tot el seu significat quan l’artista abandona per \u00faltima vegada l’escenari perdent en el paisatge inh\u00f2spit projectat a la pantalla.<\/p>\n","protected":false},"excerpt":{"rendered":"

La sala a les fosques, un escenari baix amb dos amplificadors, un peu de micr\u00f2fon i una guitarra ac\u00fastica i, al fons, un tr\u00edptic de pantalles de projecci\u00f3 de v\u00eddeo….<\/p>\n","protected":false},"author":1276,"featured_media":8699,"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":"\nRichard T. 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