{"id":8994,"date":"2014-09-01T02:00:00","date_gmt":"2014-09-01T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/09\/01\/made-in-l-a-hammer-museum-los2983\/"},"modified":"2014-09-01T02:00:00","modified_gmt":"2014-09-01T02:00:00","slug":"made-in-l-a-hammer-museum-los2983","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/made-in-l-a-hammer-museum-los2983\/","title":{"rendered":"Made in L.A. Hammer Museum, Los Angeles"},"content":{"rendered":"

\"Ende
\nEl clima a Los Angeles \u00e9s m\u00e9s aviat uniforme, tot i que els locals exagerin els matisos i les oscil\u00b7lacions. \u00c9s cert que els percentatges d’humitat baixen a mesura que m’allunyo del Pac\u00edfic. Tamb\u00e9, que els Canons estimulen imaginaris subtropicals, potser m\u00e9s verds; que les temperatures cauen totes les nits de l’any a les comunitats de platja. Que malgrat la sequera, el mes de febrer registra una mitjana de 3,8 polzades de precipitaci\u00f3. Els matisos dels climes de la ciutat, per\u00f2, s’enfosqueixen sota una permanent n\u00favol de contaminaci\u00f3 que taca vidres i pulmons. \u00c9s el n\u00favol de les autopistes i el port, el que detenen les muntanyes. No \u00e9s nou que, a risc de ser llegits en la seva uniformitat, els angelins recorrin a diferents estrat\u00e8gies per remarcar les particularitats dels seus climes. Hi ha, tant als Canons com en els carrils de la 10, una permanent necessitat per representar la individualitat i novetat de cada agent per no perdre valor al mercat. <\/p>\n

Made in LA<\/a><\/em> va tenir la seva primera edici\u00f3 l\u2019any 2012. Aquest any el museu Hammer, afiliat a UCLA, ha dedicat totes les seves sales a la segona. En comptes d’optar pel model de la macro biennal internacional que articula p\u00fablics i professionals del circuit global, aquesta, la “LA’s Biennial”, apel\u00b7la al valor d\u2019all\u00f2 concret, a l’especificitat local. Aix\u00f2 en aquest cas es tradueix en la mostra del treball de trenta-cinc artistes emergents o a meitat de la seva carrera. Un darrere l’altre, omplint les sales del museu. El factor com\u00fa en tots \u00e9s haver triat Los Angeles com a escenari per al salt a la professionalitzaci\u00f3. Les variables, totes: or\u00edgens, llenguatges, processos, materialitats, identitats, pressupostos per a l’acci\u00f3. Simptom\u00e0tic del poder d’atracci\u00f3 del teixit galer\u00edstic de la capital del Pac\u00edfic avui, i tamb\u00e9 de l’encantament d’una urbs que encara representa per a molts la promesa de progr\u00e9s, al final del viatge. <\/p>\n

Malgrat la inevitable varietat de propostes que una mostra tan extensa ofereix, la selecci\u00f3 enganxa. Jibade Khalil-Huffman ha instal\u00b7lat The Forms of Love<\/em> (2013), i Lake Overturn<\/em> (2013). En ambdues fa \u00fas de la noci\u00f3 de ritme que hereta de la seva pr\u00e0ctica com a poeta i configura escenaris visuals envoltants que persuadeixen al visitant sobre la necessitat d’habitar les projeccions, participar del suspens, compartir la temporalitat del v\u00eddeo per entendre el valor f\u00edsic de les projeccions a la sala. Full Burn<\/em>, de Maria Garnett, \u00e9s un documental sobre veterans de guerra emprats com dobles de cinema per escenes perilloses. Ens parla de les pr\u00e0ctiques de cura de si mateixos amb les que cadascun d’aquests personatges masculins restaura la seva identitat despr\u00e9s de cada trauma. Marcia Hafif porta construint un cos de pintures monocromes des de 1972, en la seva aposta per centrar la seva investigaci\u00f3 pl\u00e0stica en els propis materials involucrats en els processos. A Inventory S\u00e8ries<\/em> (1978 – en proc\u00e9s), se li ha dedicat una petita sala; una capella de monocroms. Magdalena Su\u00e1rez Frimkess i Michael Frimkess porten a la biennal una vintena d’exemplars de Glazed Stoneware<\/em>, les cer\u00e0miques il\u00b7lustrades que porten coent junts des de fa cinquanta anys. Ells ens recorden el tradicional parentiu entre el disseny i l’art de la regi\u00f3. Les performances d’Emily Mast aprofundeixen en les expectatives que regeixen la mirada del p\u00fablic, apostant per redefinir les pol\u00edtiques de comunicaci\u00f3 entre actors i objectes dins de l’escenari. B! IRDBRA! N<\/em> (2013) apareix a la biennal documentada a trav\u00e9s de fotografies i un v\u00eddeo. Amb Matie Beaty<\/em> (2013) Daniel Dodge explora els llindars de la convenci\u00f3 social amb sarcasme en un treball extens que s’expandeix sobre obra gr\u00e0fica, v\u00eddeo i fanzine. Obres de menor inter\u00e8s s\u00f3n les aportacions de Samara Golden (Busts<\/em>, 2011-en proc\u00e9s), la pintura de Lecia Dole-Recio, o el projecte autobiogr\u00e0fic de Jennifer Moon. <\/p>\n

Els curadors Michael Ned Holte i Connie Butler (independent i resident del Hammer, respectivament) han triat el clima de Los Angeles com a imatge per donar unitat a la diversitat de propostes que ens presenta la biennal. Per\u00f2 de nou, \u00e9s aquesta la millor elecci\u00f3 per construir un discurs unificador per a una biennal que neix, com no pot ser d’altra manera, de la juxtaposici\u00f3 de pr\u00e0ctiques art\u00edstiques dissonants? Amb quina imatge donar sentit a una mostra col\u00b7lectiva? Ordenar el contingut a partir d’imatges no \u00e9s nou, tots ho fem, per\u00f2 sempre marca la pres\u00e8ncia de l’autor. Com marcar autoria en una exposici\u00f3 d’aquest tipus, on el pressupost \u00e9s oferir al p\u00fablic una mostra dels registres pl\u00e0stics que ofereix una ciutat?<\/p>\n

M\u00e9s enll\u00e0 de preguntes sobre les imatges que unifiquen la diversitat, la veritat \u00e9s que aquesta biennal d\u00f3na al p\u00fablic acc\u00e9s a les pr\u00e0ctiques que ocupen els artistes residents i practicants a Los Angeles avui. La comunitat \u00e9s la que va retratar Chris Kraus en el seu Where Art belongs<\/em> (Semiotext (i), 2011), una cultura dels espais autogestionats, els artistes amb m\u00e0ster, les influ\u00e8ncies del cinema i la moda, i la marcada pres\u00e8ncia de la m\u00fasica en les seves pr\u00e0ctiques. Treballadors que, encara, s\u00f3n agents (primer) i v\u00edctimes (despr\u00e9s) de les progressives onades de gentrificaci\u00f3 que escombren la metr\u00f2poli.<\/p>\n","protected":false},"excerpt":{"rendered":"

El clima a Los Angeles \u00e9s m\u00e9s aviat uniforme, tot i que els locals exagerin els matisos i les oscil\u00b7lacions. \u00c9s cert que els percentatges d’humitat baixen a mesura que…<\/p>\n","protected":false},"author":1245,"featured_media":8973,"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":"\nMade in L.A. 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