{"id":9033,"date":"2014-12-15T01:10:00","date_gmt":"2014-12-15T01:10:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/12\/15\/un-impuls-invisible-cardiff-i\/"},"modified":"2014-12-15T01:10:00","modified_gmt":"2014-12-15T01:10:00","slug":"un-impuls-invisible-cardiff-i","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/un-impuls-invisible-cardiff-i\/","title":{"rendered":"Un impuls invisible. Cardiff i Bures Miller al Palacio de Cristal"},"content":{"rendered":"<p><img decoding=\"async\" class=\" alignleft size-full wp-image-9030\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2014\/12\/cardiffymiller1-2.jpg\" alt=\"cardiffymiller1-2.jpg\" align=\"left\" width=\"640\" height=\"360\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2014\/12\/cardiffymiller1-2.jpg 640w, https:\/\/a-desk.org\/wp-content\/uploads\/2014\/12\/cardiffymiller1-2-595x335.jpg 595w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><br \/>\n&#8220;No et perdis els treballs de Tino Sehgal, Pierre Huyghe i Janet Cardiff. M&#8217;han dit que s&#8217;han superat a si mateixos.&#8221; Aquesta va ser l&#8217;advert\u00e8ncia de l&#8217;artista Alicia Framis a Enrique Vila-Matas just abans que aquest emprengu\u00e9s el seu viatge a Kassel per participar a Documenta 13, experi\u00e8ncia que, amb gran sentit de l&#8217;humor i no exempta d&#8217;ironies, l&#8217;escriptor va <em>ficcionar<\/em> m\u00e9s tard a la seva \u00faltima novel\u00b7la <em>Kassel no convida a la l\u00f2gica<\/em>, publicada a principis d&#8217;aquest any.<\/p>\n<p><em>FOREST (for a thousand years&#8230;)<\/em> \u00e9s la instal\u00b7laci\u00f3 sonora que van presentar els canadencs Janet Cardiff i George Bures Miller al parc Karlsaue de la ciutat alemanya. Es tractava, en paraules de Vila-Matas, d&#8217;una <em>gresca b\u00e8l\u00b7lica<\/em> que reconstru\u00efa els bombardejos que va patir el parc i que van arru\u00efnar la ciutat durant la Segona Guerra Mundial. Una ficci\u00f3 o artifici auditiu que rememorava un cap\u00edtol hist\u00f2ric en un temps i espai espec\u00edfics. Juntament amb aquesta pe\u00e7a, els artistes van presentar tamb\u00e9 <em>Bahnhof Video Walk<\/em>, un passeig ac\u00fastic-videogr\u00e0fic a l&#8217;interior d&#8217;una estaci\u00f3 de tren, en al\u00b7lusi\u00f3 als vagons de deportats que van ser enviats als camps de concentraci\u00f3, i que recorda els <em>v\u00eddeo walks<\/em> amb els que els artistes es van donar a con\u00e8ixer als anys vuitanta i noranta. Despr\u00e9s de rec\u00f3rrer Documenta i <em>viure<\/em> les obres de Cardiff i Bures Miller i d&#8217;altres tants artistes, l&#8217;escriptor -o la seva <em>jo ficcionat<\/em> &#8211; arribava a la certesa que &#8220;<em>L&#8217;art era, en efecte, una cosa que m&#8217;estava succeint, passant en aquell mateix moment. I el m\u00f3n de nou semblava in\u00e8dit, mogut per un impuls invisible.<\/em> &#8221;<\/p>\n<p><iframe loading=\"lazy\" width=\"670\" height=\"377\" src=\"\/\/www.youtube.com\/embed\/hGqPwaZVPBo\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>Aquest mateix <em>impuls invisible<\/em> que sospita Vila-Matas \u00e9s el que tornem trobar a la instal\u00b7laci\u00f3 &#8220;<a href=\"http:\/\/www.museoreinasofia.es\/exposiciones\/janet-cardiff-george-bures-miller\">El hacedor de marionetas<\/a>&#8220;, que Janet Cardiff i George Bures Miller han creat per al Palacio de Cristal, al Parc del Retiro. La pe\u00e7a consisteix en una <em>roulotte<\/em> amb matr\u00edcula canadenca estacionada enmig de l&#8217;edifici vuitcentista de vidre i metall, sobre la qual s&#8217;han col\u00b7locat dos grans altaveus giratoris, rematats amb el toc surrealista d&#8217;un paraigua, que emeten sons embolcalladors i que contribueixen encara m\u00e9s l&#8217;ambient d&#8217;irrealitat: des de murmuris femenins i sorolls que semblen provenir de la natura, fins el cantar dels ocells o la pluja en caure; passant pel teclejar d&#8217;un piano i l&#8217;estr\u00e8pit d&#8217;un avi\u00f3. L&#8217;espectador \u00e9s convidat a seure a rosegades butaques com si estigu\u00e9s en un teatre i encoratjat a participar de l&#8217;espectacle i convertir-se en <em>voyeur<\/em>. El primer que observem \u00e9s un teatret amb un pianista i una cantant d&#8217;\u00f2pera. Ja ens avisa que \u00e9s l&#8217;art del veure i escoltar el que domina tota la instal\u00b7laci\u00f3.<\/p>\n<p>Des de la part posterior de la caravana presideix l&#8217;escena una dona inconscient &#8211; sembla una reproducci\u00f3 de Janet Cardiff, tan vera\u00e7 i inquietant com les r\u00e8pliques humanes de l&#8217;artista Ron Mueck &#8211; i vestida amb una camisa de dormir blanca. M\u00e9s inquietant encara em sembl\u00e0 estant all\u00e0 el debat que va sorgir entre els assistents que es trobaven al meu voltant, en qu\u00e8 alguns asseguraven que la jacent era <em>real<\/em>, fins i tot una senyora al meu costat va ratificar que respirava. El cert \u00e9s que com si d&#8217;una bella dorment es tract\u00e9s (no sabem en realitat si est\u00e0 morta o adormida), es contraposa a tot el que l&#8217;envolta. Al seu voltant, en un impuls creatiu, marionetes i titelles de tota mena s&#8217;acumulen a l&#8217;interior de la caravana, amb moviments desenfrenats que contrasten amb la idea de quietud i mort. Al costat dels seus peus un rocker aut\u00f2mat toca la guitarra. Al costat oposat, un ninot assegut en un taula escriu de forma compulsiva, mentre al seu costat, les tecles d&#8217;un piano s\u00f3n premudes per una m\u00e0 invisible. Es tracta de l\u2019&#8221;Hacedor de titelles&#8221;, entestat en la seva tasca d&#8217;insuflar vida a objectes inerts, com si fos el doctor Frankenstein o la mateixa Mary Shelley alliberant els seus fantasmes.<\/p>\n<p>Tot s&#8217;acumula a l&#8217;interior de la <em>roulotte<\/em> i res sembla ser gratu\u00eft: gran quantitat de llibres, entre ells, un exemplar de <em>Native American Testimony<\/em>, de l&#8217;antrop\u00f2leg Peter Novolok; dibuixos d&#8217;anatomia i tot tipus d&#8217;artefactes amb cables visibles; il\u00b7lustracions d\u2019<em>Els viatges de Gulliver<\/em>, de Jonathan Swift i fins i tot un vaixell de fusta que naufraga sobre un vestit d&#8217;encaix blanc; antics exemplars de la revista National Geographic i una gran varietat d&#8217;objectes, inclosos plats, tasses i una llauna buida de sopa.<\/p>\n<p>&#8220;El Hacedor de marionetes&#8221; \u00e9s una ficci\u00f3 on\u00edrica, plena d&#8217;al\u00b7lusions a l&#8217;art il\u00b7lusionista i la m\u00e0gia, a la literatura, al cinema cin\u00e8tic, a la dansa moderna i a Pina Bausch i la seva introducci\u00f3 d&#8217;elements dispars. Com en molts dels seus treballs anteriors, el so, la narrativa i l&#8217;escenografia hi s\u00f3n molt presents. Ho hem vist en peces anteriors, quan van crear un teatr\u00ed (<em>Teatre de joguina<\/em>, 1997) o construir l&#8217;interior d&#8217;un cinema en miniatura (<em>L&#8217;Institut Parad\u00eds<\/em>, 2001). Tamb\u00e9 recorren sovint a all\u00f2 fantasmag\u00f2ric i l&#8217;horror, com en la pe\u00e7a <em>Killing Machine<\/em>, que va donar t\u00edtol a l&#8217;exposici\u00f3 que es va inaugurar l\u2019any 2007 al MACBA de Barcelona i que va consistir en la recreaci\u00f3 d&#8217;una m\u00e0quina de tortura. Aqu\u00ed el terror es manifesta en la quietud del personatge principal, en el sense sentit i misteri que envolta tota l&#8217;escena i en el so que acompanya la nostra mirada concentrada en cada detall.<\/p>\n<p>Janet Cardiff i George Bures Miller s\u00f3n el que s&#8217;anomena artistes sonors, i \u00e9s en realitat el so, juntament amb la idea de teatre i performance, el que articula tots els seus treballs. Per a John Cage, pioner en aquesta disciplina art\u00edstica, l&#8217;important era inserir l&#8217;individu en el flux de tot el que succe\u00efa i que l&#8217;espectador es torn\u00e9s m\u00e9s receptiu davant el que l&#8217;envoltava. &#8220;El hacedor de marionetas&#8221; aconsegueix a trav\u00e9s de la sinest\u00e8sia del teatre, la m\u00fasica i els sorolls, generar una narraci\u00f3 capa\u00e7 d&#8217;estimular l&#8217;espectador a embastar una hist\u00f2ria pr\u00f2pia a trav\u00e9s del que veu i escolta.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;No et perdis els treballs de Tino Sehgal, Pierre Huyghe i Janet Cardiff. M&#8217;han dit que s&#8217;han superat a si mateixos.&#8221; Aquesta va ser l&#8217;advert\u00e8ncia de l&#8217;artista Alicia Framis a&#8230;<\/p>\n","protected":false},"author":1246,"featured_media":9030,"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":[6418],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Un impuls invisible. 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