{"id":9009,"date":"2014-11-17T01:00:00","date_gmt":"2014-11-17T01:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/11\/17\/mirar-la-historia-des-del-present\/"},"modified":"2014-11-17T01:00:00","modified_gmt":"2014-11-17T01:00:00","slug":"mirar-la-historia-des-del-present","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/mirar-la-historia-des-del-present\/","title":{"rendered":"Mirar la hist\u00f2ria des del present o com activar el passat"},"content":{"rendered":"

\"a)<\/p>\n

Revisitar el passat des d’una mirada contempor\u00e0nia \u00e9s una premissa tan necess\u00e0ria com a delicada i, massa sovint, avorrida. Depenent de les motivacions es poden generar relectures tendencioses o associacions lliures d’academicismes que poden convertir-se en la clau per entendre alguns fets del present. Deixant de banda tot el tema Tricentenari<\/em>, a Barcelona hi conflueixen aquests dies tres exemples interessants en aquest sentit. Tres propostes que no recreen batalles ni gestes \u00e8piques, sin\u00f3 que a partir del treball amb arxius i documents, desvetllen materials in\u00e8dits o elaboren associacions ins\u00f2lites. <\/p>\n

La primera d’elles \u00e9s la nova ordenaci\u00f3 d’una part dels fons del MNAC (Museu Nacional d’Art de Catalunya) que ressitua la col\u00b7lecci\u00f3 d’art modern del museu<\/a>. I ho fa, no a partir de criteris cronol\u00f2gics o estil\u00edstics, sin\u00f3 a partir dels canvis en la idea d\u2019\u201cartista modern\u201d, del seu estatus, de la concepci\u00f3 de taller i d’obra; que no nom\u00e9s aporta nova llum a la manera en qu\u00e8 poden ser vistes les peces que segueixen a continuaci\u00f3, sin\u00f3 que remeten a un di\u00e0leg directe amb les nocions actuals d’artista, taller i producci\u00f3. I com no podia ser d’altra manera, la mateixa classificaci\u00f3 estanca de disciplina es desintegra i obliga a exposar pintura, escultura i arquitectura al costat d\u2019all\u00f2 que abans es coneixia com arts aplicades; i a d\u2019altres nous mitjans com la fotografia, el cinema o la publicitat. \u00c9s nom\u00e9s a partir de la conviv\u00e8ncia d’aquestes manifestacions, que contextualitzen els diferents elements d’estudi, que pot comunicar-se una mena de Zeitgeist<\/em> o esperit del temps. <\/p>\n

A la mateixa muntanya de Montju\u00efc, una mica m\u00e9s amunt, a la Fundaci\u00f3 Joan Mir\u00f3, Joan M. Minguet i F\u00e8lix Fan\u00e8s han comissariat una exposici\u00f3 hist\u00f2rica: Barcelona zona neutral (1914-1918)<\/em><\/a>, que defineix amb absoluta precisi\u00f3 el lapse espai-temporal a tractar i, tot i basant-se en multitud de documents (que per aix\u00f2 els comissaris s\u00f3n historiadors de l’art i professors universitaris), no dubta a fugir d’academicismes. I tampoc dubte en relacionar, contraposar i establir interessant\u00edssimes i gens t\u00f2piques associacions, com per exemple la que presenta Sunyer en el radi d’influ\u00e8ncia de C\u00e9zanne i no en l’apartat \u201cnoucentista\u201d, la que atribueix una gran rellev\u00e0ncia a diaris il\u00b7lustrats, fotografia, cinema i cartells. <\/p>\n

Precisament, un dels grans encerts curatorials \u00e9s que les obres dels artistes s\u00f3n una part important de l’exposici\u00f3 per\u00f2 no l’\u00fanica. \u00c9s a dir, no s’espera que pintures i dibuixos a\u00efllats parlin per ells mateixos, sin\u00f3 que estan embolcallats o en di\u00e0leg amb tot tipus d’elements, entre els que s’inclouen pel\u00b7l\u00edcules, cartells de combats de boxa, fotografies de la nit a Barcelona o cotxes de la Hispano-Suiza. Com si no es pot comunicar que la 1\u00aa Guerra Mundial va ser la 1\u00aa guerra fotografiada i en la qual s’introdueixen els mitjans de manipulaci\u00f3 de masses? Els diaris il\u00b7lustrats, molt abundants en aquell moment, donen bona idea d’aix\u00f2. <\/p>\n

Encara que Barcelona es va mantenir al marge del conflicte b\u00e8l\u00b7lic, l’impacte de la guerra no va ser insignificant. Va tenir influ\u00e8ncia en l’economia (creix el comer\u00e7 i la ind\u00fastria), i en conseq\u00fc\u00e8ncia, en els conflictes socials (la burgesia s’enriqueix i creixen les desigualtats). Barcelona va ser pol\u00edticament neutral, per\u00f2 intel\u00b7lectualment s\u00ed que va prendre partit. Hi van haver franc\u00f2fils i german\u00f2fils. I tamb\u00e9 van haver-hi anades i vingudes, exilis i un gran intercanvi. No nom\u00e9s alguns salons de Par\u00eds que no van poder celebrar-se a la capital francesa es van presentar a Barcelona, sin\u00f3 que fins i tot van arribar a viure a la ciutat, durant un temps, creadors com Albert Gleizes i la seva dona Juliette Roche, Sonia i Robert Delaunay, Marie Laurencin o Arthur Cravan, entre d\u2019altres. La puresa, l’ordre i el classicisme del Noucentisme<\/em> convivia doncs amb un ambient d’activitat intel\u00b7lectual, efervesc\u00e8ncia creativa i vida nocturna, com molt b\u00e9 mostra l’exposici\u00f3. La import\u00e0ncia dels mitjans de comunicaci\u00f3 de masses queda evidenciat al final de la mateixa, que es tanca amb fragments del film de Charles Chaplin Shoulder Arms<\/em> (1918). Si l’exposici\u00f3 comen\u00e7ava amb imatges de la 1\u00aa Guerra Mundial, que va ser la primera guerra tecnol\u00f2gica, conclou amb la visi\u00f3 sat\u00edrica d’aquesta mateixa guerra, aportada per Chaplin. <\/p>\n

Barcelona zona neutral (1914-1918)<\/em> \u00e9s doncs una exposici\u00f3 hist\u00f2rica que apel\u00b7la constantment al present i ajuda a entendre algunes de les seves din\u00e0miques, precisament perqu\u00e8 no \u00e9s nost\u00e0lgica sin\u00f3 que mant\u00e9 la tensi\u00f3 entre la mem\u00f2ria i la revisi\u00f3 cr\u00edtica. I ens fa recordar altres mirades a Barcelona (aquesta ciutat a la qu\u00e8 tant li agrada mirar-se el melic i que sovint \u00e9s tan autocomplaent) com l’obra de teatre \u00c0 la ville de… Barcelona<\/em> de Joan Oll\u00e9, de la qual ja vam escriure en el seu moment<\/a> o novel\u00b7les com La ciudad de los prodigios<\/em> o Sin noticias de Gurb<\/em> d’Eduardo Mendoza.<\/p>\n

\"b)<\/p>\n

Tanquem el rep\u00e0s tornant al MNAC on Perejaume ha estat convidat a \u201cmaniobrar\u201d al museu<\/a>, tractant nombrosos arxius i disposant materials -de ben diversa proced\u00e8ncia i naturalesa- com mai els hav\u00edem vist abans. Entre el Wunderkammer<\/em> i l’atles al m\u00e9s pur estil Warburg, Perejaume presenta m\u00e9s d’un centenar de peces, entre elles, una obra de Mir\u00f3 al costat d’una m\u00e0 d’autor an\u00f2nim i el bra\u00e7 de la geganta d’Olot; una col\u00b7lecci\u00f3 de dietaris de la guerra civil; o un arxiu-inventari de tipus de n\u00favols d’Eduard Fontser\u00e9 Riba, per esmentar nom\u00e9s algunes de les meravelles disposades i activades en aquesta mirada al passat des del present. <\/p>\n","protected":false},"excerpt":{"rendered":"

Revisitar el passat des d’una mirada contempor\u00e0nia \u00e9s una premissa tan necess\u00e0ria com a delicada i, massa sovint, avorrida. Depenent de les motivacions es poden generar relectures tendencioses o associacions…<\/p>\n","protected":false},"author":1239,"featured_media":9006,"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":[6368],"acf":[],"yoast_head":"\nMirar la hist\u00f2ria des del present o com activar el passat – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/mirar-la-historia-des-del-present\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mirar la hist\u00f2ria des del present o com activar el passat – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Revisitar el passat des d’una mirada contempor\u00e0nia \u00e9s una premissa tan necess\u00e0ria com a delicada i, massa sovint, avorrida. 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