{"id":8828,"date":"2014-04-11T02:51:00","date_gmt":"2014-04-11T02:51:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/04\/11\/the-possible-i-la-llaga-que-sempre\/"},"modified":"2014-04-11T02:51:00","modified_gmt":"2014-04-11T02:51:00","slug":"the-possible-i-la-llaga-que-sempre","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/the-possible-i-la-llaga-que-sempre\/","title":{"rendered":"The Possible. I la llaga que sempre em cou amb l’art participatiu"},"content":{"rendered":"

\"foto-3.jpg\"
\nFa pocs dies vaig visitar un museu ocupat per una exposici\u00f3 d’art participatiu. Una parella de fotocopiadores alternava amb banquetes, flexos i puffs. Folis, plastilina i una catifa feta de retalls de samarretes portades per nens del barri. L’exposici\u00f3 tenia un nom gen\u00e8ric: The Possible<\/em>. El museu era el Berkeley Art Museum, a la badia de San Francisco. Facilitava la mostra el curador convidat David Wilson.<\/p>\n

Una acumulaci\u00f3 de vuitanta artistes vestits amb la ret\u00f2rica de l’artes\u00e0 explicaven un conte sobre la impossibilitat de divorciar el disseny participatiu d’un comunitarisme org\u00e0nic a-jer\u00e0rquic. A exposicions com aquestes, basades en amistats circumstancials inesperades, hi estem acostumats. Carl Andr\u00e9 juga amb l’editora local Colpa Press; Walter de Maria salta a la corda al camp del Berkeley Edible Schoolyard; els nens entren i surten, participant i participant amb Leslie Ceramics i Michael Asher. Narracions sobre l’emerg\u00e8ncia innocent de comunitats ef\u00edmeres celebrant, potser, la generaci\u00f3 de sentit per la mera coincid\u00e8ncia en un espai. Blanc, de fusta de pi.<\/p>\n

En aquest cas la instituci\u00f3 \u00e9s un museu universitari punter al pa\u00eds. Pertany a UC Berkeley, una universitat p\u00fablica rellevant en el passat per ser una de les seus intel\u00b7lectuals de part dels moviments per la defensa dels drets socials a la costa oest dels Estats Units, per\u00f2 present ara a les not\u00edcies per la censura de la llibertat d’expressi\u00f3 en els seus propis recintes.<\/p>\n

Aquest tipus de pr\u00e0ctiques art\u00edstiques ocorren avui a la cua de la deriva estetitzant amb la qual es va fetitxitzar el moviment occupy<\/em>. Aquesta mateixa deriva va ser part del pacte que va haver de signar l’activisme detonat al voltant de Wall Street i altres espais p\u00fablics al llarg del globus, per tal d’entrar a habitar, primer, l’espai de representaci\u00f3 dels mitjans de comunicaci\u00f3 i, m\u00e9s endavant, el de les galeries dels museus. Bevent de l’aigua que bevia l’art participatiu dels noranta, l’ingredient subversiu que al seu dia aquest va potenciar les pol\u00e8miques Burriaud- Bishop-Kester s’ha dilu\u00eft avui entre les pol\u00edtiques de subvencions a un art amable que, en teoria, media entre el sistema art i el p\u00fablic general.<\/p>\n

Per\u00f2, \u00bfen quin grau la mediaci\u00f3 que aquest tipus de pr\u00e0ctiques exercita entre la instituci\u00f3 i el p\u00fablic fomenta una lectura cr\u00edtica dels problemes del context en el qual se cita? Tant Kester com Bishop ens demanen que no s’oblidi l’impacte real que les performativitats de les neo-avantguardes s\u00ed van tenir en la societat. Paral\u00b7lela a l’emerg\u00e8ncia dels nous moviments socials, els seixanta i els setanta van acollir un art participatiu que, sense dir-se encara relacional, si abordava de front els conflictes que constitu\u00efen la instituci\u00f3 art. M\u00e9s enll\u00e0 de judicis sobre mostres concretes com The Possible<\/em>, queda molt per aprendre de les ideologies dominants si les prenem com a s\u00edmptomes en els epitelis que recobreixen els sistemes als quals aquestes institucions pertanyen.<\/p>\n

A difer\u00e8ncia d’en els seixanta o els setanta, avui l’acumulaci\u00f3 d’objectes barats i ef\u00edmers, i la seva juxtaposici\u00f3 amb noms que actuen com a marques buscant generar un contingut marcat pel tint l\u00fadic de l’agregat, no constitueix una pr\u00e0ctica cr\u00edtica. Avui, aix\u00f2 recrea les tensions pr\u00f2pies d’un sistema basat en l’acumulaci\u00f3 de capes de valor i la sobre-injecci\u00f3 de mobilitat entre les pells que recobreixen els signes. Exemples com The Possible<\/em> s\u00f3n un tipus d’art participatiu que pren la mateixa forma sense importar all\u00e0 on s’assenti. Desinteressat en les particularitats socials, econ\u00f2miques i culturals del context espec\u00edfic, obre la seva botiga de campanya blanca i facilita plastilina perqu\u00e8 tots fem motlles de micro-il\u00b7lusions de consensos excitants.<\/p>\n

Negri ens recorda a Art y multitud<\/em> que les manifestacions art\u00edstiques estan estretament lligades al Kunstwollen<\/em> d’una \u00e8poca, determinat pel particular episteme<\/em> imperant en cada circumst\u00e0ncia. Aquest tipus d’esdeveniments articulen una classe de treball relacional que comparteix les caracter\u00edstiques col\u00b7lectives i culturals de les ind\u00fastries culturals. S\u00f3n pistes, dins de les galeries dels museus, de la manca de profunditat del treball cognitiu avui. Simptom\u00e0tica \u00e9s la import\u00e0ncia que adquireixen els detritus d’aquestes accions col\u00b7laboratives; el valor de fetitxe que acaben tenint els zines, imatges, i testimonis que es generen (sovint pre-dissenyats) en aquestes situacions.<\/p>\n

La pregunta potser \u00e9s encara la mateixa. Tornant a Kester i Bishop, la q\u00fcesti\u00f3 \u00e9s com posar en marxa pr\u00e0ctiques col\u00b7laboratives que no nom\u00e9s tinguin un impacte social real, sin\u00f3 que aconsegueixin evitar recrear la bretxa social dotant a l’artista amb una posici\u00f3 de privilegi en la comunitat amb la que la seva pr\u00e0ctica es relaciona.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fa pocs dies vaig visitar un museu ocupat per una exposici\u00f3 d’art participatiu. Una parella de fotocopiadores alternava amb banquetes, flexos i puffs. Folis, plastilina i una catifa feta de…<\/p>\n","protected":false},"author":1245,"featured_media":8763,"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":"\nThe Possible. 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