{"id":8961,"date":"2014-04-30T02:00:00","date_gmt":"2014-04-30T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/04\/30\/ordenar-la-critica-take-it-or2960\/"},"modified":"2014-04-30T02:00:00","modified_gmt":"2014-04-30T02:00:00","slug":"ordenar-la-critica-take-it-or2960","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/ordenar-la-critica-take-it-or2960\/","title":{"rendered":"Ordenar la cr\u00edtica. Take it or Leave It"},"content":{"rendered":"

\"450-jpg.png\"
\nViena, 1994. Andrea Fraser parlava de la necessitat d’un tipus de pr\u00e0ctica art\u00edstica que analitz\u00e9s els escenaris i les situacions on ocorre el treball de l’artista. Volia descriure les condicions econ\u00f2miques i la xarxa de relacions socials sota les quals aquesta noci\u00f3 de treball tenia lloc.<\/p>\n

Aquesta primavera el Hammer Museum de Los Angeles obre les portes de Take It or Leave It: Institution, Image, Ideology<\/em>. L’exposici\u00f3 vol oferir al p\u00fablic una mirada als or\u00edgens de la cr\u00edtica institucional i les pr\u00e0ctiques apropiacionistes, un maridatge que no sempre queda clar en el plantejament expositiu.<\/p>\n

Les curadores Anne Ellegood i Johanna Burton porten a la comunitat treballs de m\u00e9s de 36 artistes, gaireb\u00e9 tots realitzats en les d\u00e8cades dels 80 i els 90. Les categories registre p\u00fablic<\/em>, l’arxiu, la identitat americana, la interacci\u00f3, el llenguatge, els mass-media, la pol\u00edtica, el museu<\/em> o la representaci\u00f3<\/em> articulen un disseny espacial basat en la successi\u00f3 de sales organitzades. No entenc aquesta classificaci\u00f3. \u00c9s que no resideix el poder de la cr\u00edtica institucional precisament en la seva capacitat d’interpel\u00b7lar aquestes i altres categories alhora, apuntant a la desactivaci\u00f3 de part de les pol\u00edtiques que les configuren en el present, aix\u00ed com a les relacions de poder que aquestes escriuen? L’autoritat institucional del museu per rec\u00f3rrer a la catalogaci\u00f3 i les etiquetes en el seu afany per ordenar una visi\u00f3 del m\u00f3n determinada es troba aqu\u00ed rescatada.<\/p>\n

Malgrat tot aix\u00f2, la mostra ens d\u00f3na l’oportunitat de gaudir de nou de peces tan potents com Museum Highlights. A Gallery Talk<\/em> (Andrea Fraser, 1989), Proximity to Power, American Style<\/em> (Silvia Kolbowski, 2003-2004), o (Gingerbread) Feeder 2<\/em> (Nayland Blake, 1998). No hi falta el treball de F\u00e9lix Gonz\u00e1lez-Torres, Matt Mullican o Judith Barry, entre d’altres.<\/p>\n

Si el museu recorre a l’ordenaci\u00f3 tem\u00e0tica per afermar una visi\u00f3 de la hist\u00f2ria recent de pr\u00e0ctiques pol\u00edtiques encara vigents, \u00bfcom interv\u00e9 aquesta ordenaci\u00f3 entre el potencial d’aquestes pr\u00e0ctiques i la nostra experi\u00e8ncia com a p\u00fablic? \u00bfQuina faceta de la nostra experi\u00e8ncia s\u2019activa aleshores per tal dispositiu? Com sempre, els irresolubles problemes de la traducci\u00f3 i la historitzaci\u00f3…<\/p>\n","protected":false},"excerpt":{"rendered":"

Viena, 1994. Andrea Fraser parlava de la necessitat d’un tipus de pr\u00e0ctica art\u00edstica que analitz\u00e9s els escenaris i les situacions on ocorre el treball de l’artista. Volia descriure les condicions…<\/p>\n","protected":false},"author":1245,"featured_media":8836,"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":"\nOrdenar la cr\u00edtica. 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