{"id":8963,"date":"2014-05-02T02:00:00","date_gmt":"2014-05-02T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/05\/02\/el-mal-de-llobera2962\/"},"modified":"2014-05-02T02:00:00","modified_gmt":"2014-05-02T02:00:00","slug":"el-mal-de-llobera2962","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/el-mal-de-llobera2962\/","title":{"rendered":"El mal de Llobera"},"content":{"rendered":"

\"pere_llobera_M16.jpg\"
\nEn una primera impressi\u00f3 -aquesta que se sent aproximadament als tres minuts d’haver creuat la porta-, all\u00f2 que s\u2019experimenta a la individual de Pere Llobera a la galeria F\u00facares <\/a>, \u00e9s el fet d’estar davant d’un pintor que sent la necessitat imperiosa de treballar sense descans, d’obrir a la desesperada una via per la qual accedir a la tercera dimensi\u00f3 de la pintura, i sense haver de parlar de pintura expandida ni de bon tros. El mal d’Ensor<\/em> \u00e9s el t\u00edtol d’una mostra que es podr\u00e0 veure fins al 17 de maig i que sembla haver portat a aquest pintor al punt d’indeterminaci\u00f3 en qu\u00e8, contra tot pron\u00f2stic, obre una s\u00e8rie de camins aparentment inesgotables en el seu treball.<\/p>\n

Fa exactament un any, sobre les mateixes parets, Francisco Rueda va comissariar Esc\u00f3pico-Esconder(se)-Escapar<\/em>, un projecte en el qual Miki Leal, Jos\u00e9 Medina Galeote, Andrei Roiter i tamb\u00e9 Pere Llobera donaven forma a un discurs que girava entorn de la pulsi\u00f3 esc\u00f2pica<\/em>, al semblant desig de mirar i ser mirat. Cada gest aparentment aleatori de Llobera amaga una preocupaci\u00f3 per no perfeccionar-se i caure en el tedi, en el desencant amb qu\u00e8 molts pintors s’han topat en descobrir repetint unes pautes fins a sentir-se immersos en una cadena de muntatge.<\/p>\n

Llobera barreja imatges quotidianes amb la iconografia sensata i intricada que s’espera avui dia del pintor. All\u00f2 transcendental i all\u00f2 banal semblen donar-se la m\u00e0, encara que arribats a cert punt, ja no saps si l’un \u00e9s l’altre o si l\u2019altre \u00e9s l\u2019un. Parla David Armengol -en un text clar i b\u00e0sic per entendre aquest pas en la carrera de Llobera-, d\u2019”una ren\u00fancia directa a la capacitat virtuosa del pintor […] i una recerca incansable d’altres possibilitats expressives davant el gest creatiu. El mal d’Ensor \u00e9s una lluita cr\u00f2nica contra les virtuts d’un mateix, un sistema d’autocontrol<\/em>“. I jo aix\u00ed ho veig, com una fugida a la desesperada cap enlloc, com un gest valent i determinant.<\/p>\n

Explicava Albert Oehlen com la mare de Beuys es lamentava en recordar qu\u00e8 b\u00e9 que pintava el seu fill<\/em> en comparaci\u00f3 amb els treballs que li havien valgut la fama. Oehlen recordava aquest episodi mentre parlava de Kippenberger, paradigma del canvi de registre. En Kippenberger aquest gest arribava a les seves m\u00e0ximes cotes, encarregant quadres a pintors i alternant obres en qu\u00e8 la seva autoria nom\u00e9s es corroborava per mitj\u00e0 de la cartel\u00b7la. Llobera b\u00e9 podria ser un pintor d’individuals-col\u00b7lectives, un convidat perfecte que instal\u00b7la a l’espectador una cara de sorpresa i incredulitat -la cl\u00e0ssica cara de ximple-. Observem La Porta Arreu<\/em>, una escena en la qual el paisatge i la porta ens parlen d’accessibilitat enmig d’un entorn incommensurable. La figura humana, redu\u00efda fins el seu l\u00edmit, observa d’esquenes el pintor, la barrera insalvable. Com un monjo davant del mar.<\/p>\n

Al centre de la sala se situa HAL<\/em>, un arxivador de fusta amb trenta-cinc calaixos que han estat pintats un a un, escampats i testimonis de les seves sospites; d’haver estat contagiats pel mal amb qu\u00e8 el belga James Ensor va haver de viure en no decantar-se per una l\u00ednia de treball concreta. En al\u00b7lusi\u00f3 directa a l’ordinador central de 2001: Una odisea en el espacio<\/em>, Pere Llobera estableix aqu\u00ed un cervell del qu\u00e8 parteix la idea origin\u00e0ria que ha donat com a resultat aquest projecte. HAL<\/em>, com La Porta Arreu<\/em>, \u00e9s tamb\u00e9 una entrada a aquest lloc des del qual de manera rizom\u00e0tica les vies es multipliquen. Segurament tamb\u00e9 els problemes.<\/p>\n

\u00c9s en una obra sense t\u00edtol de 2010 on v\u00e8iem un individu -potser el mateix pintor- penjat de la maneta d’una porta, en un gest que simula el d’un genet o un pilot de motos. La porta entreoberta i el seu genet cavalcant-la o intentant per tots els mitjans de desprendre-la per a deixar aquesta via oberta.
\nLlobera parla de la variaci\u00f3 constant en la t\u00e8cnica i la tem\u00e0tica, de la por a encasellar-se o avorrir-se fent el que un estima. No \u00e9s q\u00fcesti\u00f3 d’assimilar un estil, sin\u00f3 m\u00e9s aviat de tot el contrari. El resultat \u00e9s una exposici\u00f3 que no fa olor de t\u00f2pics, sin\u00f3 a pintura.<\/p>\n","protected":false},"excerpt":{"rendered":"

En una primera impressi\u00f3 -aquesta que se sent aproximadament als tres minuts d’haver creuat la porta-, all\u00f2 que s\u2019experimenta a la individual de Pere Llobera a la galeria F\u00facares ,…<\/p>\n","protected":false},"author":1268,"featured_media":8849,"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":"\nEl mal de Llobera – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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