Yoko Ono. Half-A-Wind Show. Retrospectiva<\/a>\u201d. La qualitat atemporal, que com una aura recorre el treball d’Ono a trav\u00e9s de \u201cles seves\u201d instruccions, ens anteposa un temps que ja no \u00e9s el nostre i ens mostra -deixant-nos amb un cert sentiment de malenconia- el que va poder ser i es va malmetre. A aix\u00f2 hi ajuda la disposici\u00f3 de la mostra, que reuneix prop de dues-centes obres que pretenen condensar gaireb\u00e9 seixanta anys de dedicaci\u00f3 a l’art; des de mitjans dels anys cinquanta fins a l’actualitat, juntament amb una versi\u00f3 renovada la seva obra \u201cMoving Mountains\u201d expressament creada per a aquesta exposici\u00f3. En ella es convida l’espectador a ficar-se dins les bosses que hi ha a la sala per formar escultures m\u00f2bils al ritme de la can\u00e7\u00f3 \u201cMoving Mountains\u201d, pertanyent al seu \u00e0lbum \u201cBetween My Head And The Sky\u201d.<\/p>\nD’aquesta manera, s’aprecia que l’element activista no deixa d’estar present en les obres de Yoko Ono, les quals insten l’espectador a participar en el seu proc\u00e9s d’una forma o una altra -per exemple mitjan\u00e7ant la intervenci\u00f3 violenta directa (\u201cCut Piece\u201d, 1964) o tamb\u00e9 per la descontextualitzaci\u00f3 (\u201cCeiling Painting\u201d)-, per\u00f2 gaireb\u00e9 persistentment de forma abrupta i no sempre f\u00edsica. Es veu en els treballs una ferocitat verbal ir\u00f2nica; per exemple, dins del seu llibre \u201cPomelo\u201d de 1964 -una col\u00b7lecci\u00f3 d’instruccions po\u00e8tiques per provocar obres d’art, i publicada en espanyol per la Universitat de Castella-la Manxa-; a la pe\u00e7a \u201cEnregistrament III\u201d despr\u00e9s d\u2019indicar-nos que enregistrem el so de la neu, ens demana que no ho escoltem i destinem la cinta (quan encara grav\u00e0vem en cinta magnetof\u00f2nica) a embolicar regals.<\/p>\n
Com no podia ser d’una altra manera, el moviment Fluxus \u00e9s present a la retrospectiva, no nom\u00e9s en obres, sin\u00f3 tamb\u00e9 en les activitats que envolten la mostra. Tallers, concerts i performances, duts a terme alguns d’ells per la mateixa artista, com el concert inaugural de l’exposici\u00f3, segueixen sota la inspiraci\u00f3 de la re-apropiaci\u00f3 temporal de la qual es va fer ress\u00f2 la performance de les d\u00e8cades dels anys seixanta i setanta. Treballs com \u201cLion Wrapping Event\u201d (1967), o \u201cDestruction in the Arts Symposium (DIAS)\u201d, Londres 1966, es poden veure a la segona part de la mostra, a la qual segueixen els seus treballs d’instal\u00b7laci\u00f3, cinematografia i obres recents. El tancament final el donen les seves obres de producci\u00f3 musical, potser la part m\u00e9s interessant i menys coneguda d’Ono. Les peces ac\u00fastiques s\u00f3n veritables camps d’experimentaci\u00f3 en els quals l’artista desplega tot el seu potencial vocal i coneixements compositius. Imprevisibles, s\u00f3n el millor reflex de l’esperit art\u00edstic (la mitja respiraci\u00f3?) de Yoko Ono; el camp auditiu no deixa de generar cont\u00ednues significacions que trenquen de manera abrupta que per in\u00e8rcia espera l’o\u00efda.<\/p>\n","protected":false},"excerpt":{"rendered":"
L\u2019any 2005, Rosaura L\u00f3pez Lorenzo, un gallega sensata i honesta, va publicar un llibre sobre els seus anys d’assistenta a casa de John Lennon i Yoko Ono. Recordo que totes…<\/p>\n","protected":false},"author":1284,"featured_media":8859,"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":"\n
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