mostra de Rama<\/a> no \u00e9s una exposici\u00f3 a l’\u00fas. I he d’admetre que sento una especial predilecci\u00f3 per la singular sala vermella. S’hi mostren les primeres aquarel\u00b7les de l’artista, en qu\u00e8 ja no \u00e9s l’innocent gos de Giacomo Balla el que sacseja la cua, sin\u00f3 que seran altres els qui es la remenen amb la mateixa alegria, exhibint una llibertat sexual no f\u00e0cilment assumible per la It\u00e0lia Feixista en les que es van dur a terme. Una It\u00e0lia en la qual moviments obertament mis\u00f2gins com el Futurisme havien aconseguit, gaireb\u00e9 sense esfor\u00e7, l’\u00e8xit. A la banda oposada, i davant de l’hegemonia que durant segles havia ostentat una mirada que relegava a les dones a mers subjectes virginals, d\u00f2cils, passius i mal\u00b7leables davant els anhels sexuals dels homes, -i que envilia comportaments i orientacions com l’homosexual-, en aquests primers treballs, Carol Rama presentava amb atreviment tant a homes com a dones arrencant la serp del pecat original dels seus anus i vagines en un gest lasciu i reivindicatiu de poder (“Jo no tinc cap pintor com a mestre. El sentit del pecat \u00e9s el meu mestre”).<\/p>\nSense pretendre donar lli\u00e7ons a ning\u00fa, sin\u00f3 tan sols com una forma de catarsi personal, arremetia amb gosadia i desvergonyiment, contra moltes de les ficcions que havien constru\u00eft una idea de la feminitat i la masculinitat estereotipades i allunyades de la complexitat i diversitat dels cossos i psiques reals, i exhibia elements usualment invisibilitzats com el borrissol p\u00fabic, el p\u00e8l perianal mascul\u00ed, pits fl\u00e0ccids, i un llarg etc\u00e8tera. En el seu moment no va quallar. Va ser titllada de pornogr\u00e0fica i obviada durant anys per una bona part de cr\u00edtics i historiadors. El seu marcat i temperamental car\u00e0cter, que em recorda tant al d’un pais\u00e0 meu de caixes metaf\u00edsiques, de tornada de tot, capa\u00e7 de dir el que li venia de gust en el moment m\u00e9s inoport\u00fa, pot ser que no contribu\u00eds a millorar el panorama. I tot i aix\u00f2, avui el MACBA ha decidit tornar a apostar per ella i jo no puc m\u00e9s que alegrar-me i agrair-ho. Semblaria, doncs, que no tindria res m\u00e9s a dir. Punt i final. Apago l’ordinador i me’n vaig. Per\u00f2 ben mirat, el gust de boca amb el que em quedo \u00e9s una mica agredol\u00e7, perqu\u00e8 en el fons, encara que alguna cosa ha passat, segueixo sense sentir del tot l’anunciada revoluci\u00f3.<\/p>\n
Fins a quin punt els canvis han estat transcendentals? Podem celebrar que la instituci\u00f3 hagi aconseguit per fi reconciliar-se i tornar a connectar amb la societat en la qual s’inscriu? Potser el color vermell de la sala constitueixi una resposta una mica premonit\u00f2ria. Des Pompeia, passant per les viles dels col\u00b7leccionistes burgesos, les estances del Vatic\u00e0, o els salons palatins, el vermell \u00e9s el color de les minories selectes. I per desgr\u00e0cia, l’exposici\u00f3 de Carol Rama continua sent una mostra que ser\u00e0 visitada, entesa i valorada, per tan sols una determinada bombolla de persones allunyada de la gent del carrer, normal i corrent. El m\u00f3n de l’art contemporani s’auto-felicitar\u00e0 presumint amb copets a l’esquena, per\u00f2 mentrestant, el missatge seguir\u00e0 sense canviar gens ni mica la societat.<\/p>\n
![\"b)](\"http:\/\/a-desk.org\/wp-content\/uploads\/2014\/11\/lasalaroja.jpg\")
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Malgrat els nombrosos esfor\u00e7os duts a terme per desmantellar les ficcions socials tradicionals que han subjugat cossos i ments durant cent\u00faries, treballs com els d’aquesta autora continuaran representant imaginaris minoritaris, incapa\u00e7os de fer front a una normativa imperant. Fredic Jameson ho argumenta de la seg\u00fcent manera al seu llibre \u201cArqueologies del futur\u201d: “Marcuse sost\u00e9 que \u00e9s la mateixa separaci\u00f3 entre l’art i la cultura d’una banda i all\u00f2 social de l\u2019altra (…) la que constitueix la font de l’ambig\u00fcitat incorregible del art. Perqu\u00e8 aquesta mateixa dist\u00e0ncia respecte al seu context social, que permet a la cultura servir de cr\u00edtica i re-acusaci\u00f3 a aquest context, tamb\u00e9 condemna les seves intervencions a la inutilitat, i relega l’art i la cultura a un espai fr\u00edvol i trivialitzat en qu\u00e8 aquestes interseccions es neutralitzen per endavant”. Jo no hi estic del tot d’acord. No crec que haguem de tirar la tovallola. Per\u00f2 potser s\u00ed que ha arribat l’hora de fer un pas m\u00e9s enll\u00e0. No conformar-nos amb petits signes de canvi. Potser \u00e9s el moment que tots els agents involucrats en el m\u00f3n de l’art (artistes, cr\u00edtics, estudiants, museus, comissaris, professors, historiadors…) realitzem una reflexi\u00f3 profunda sobre la transcend\u00e8ncia real dels imaginaris art\u00edstics contemporanis en l’\u00e0mbit social i sobre d’efic\u00e0cia de les t\u00e0ctiques dutes a terme per comunicar-se i incidir en la societat.<\/p>\n","protected":false},"excerpt":{"rendered":"
Alguna cosa est\u00e0 passant al MACBA. En aparen\u00e7a tot segueix com si res, els skaters fent les seves exhibicions acrob\u00e0tiques a les rampes, rotllanes d’adolescents arremolinats en petits grups com…<\/p>\n","protected":false},"author":1327,"featured_media":9015,"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":[6517],"acf":[],"yoast_head":"\n
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