{"id":9053,"date":"2015-01-19T01:10:00","date_gmt":"2015-01-19T01:10:00","guid":{"rendered":"http:\/\/a-desk.org\/2015\/01\/19\/el-formalisme-de-lizzie-fitch-ryan\/"},"modified":"2015-01-19T01:10:00","modified_gmt":"2015-01-19T01:10:00","slug":"el-formalisme-de-lizzie-fitch-ryan","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/el-formalisme-de-lizzie-fitch-ryan\/","title":{"rendered":"El formalisme de Lizzie Fitch & Ryan Trecartin"},"content":{"rendered":"

\"Ryan
\nEntrar al Regen Projects t’obre les pupil\u00b7les: del sol intens de migdia al Santa M\u00f2nica Boulevard a les entranyes fosques d’un cub negre ocupat per escultures artr\u00f2podes brillants. Les criatures incorporen funcions que Trecartin i Fitch han observat en altres llocs. Les envoltes a la primera sala, despr\u00e9s entres a unes altres tres on qui canvia de rol ets tu. En cadascuna d’elles, una instal\u00b7laci\u00f3 configurada amb varietat de pantalles i mobiliari de c\u00e0mping. Coixins d\u2019Ikea, teles, hamaques, cadires. Rosa, blau, negre, daurat, platejat. T\u2019estires, mires amunt, claves els ulls a les pantalles. T\u2019hipnotitzen. Mentrestant, veus accelerades, caracter\u00edstiques de la producci\u00f3 d’aquests dos artistes, cridades per actrius ultra maquillades tretes de perfils online<\/em>, perruques fora de lloc i maquillatge suat regalimant. Una vol tornar a la seva posici\u00f3 recta, perqu\u00e8 sense voler ha cedit el seu cos a la pe\u00e7a i costa cada vegada m\u00e9s tornar a sentir-se humana. Els ambients embolcalladors de Trecartin arriben a l’extrem a la m\u00e9s gran de les sales de la galeria, on una tenda de campanya gegant envolta per dins l’arquitectura, deixant que els seus tensors redelimitin l’espai com una mena de capoll pl\u00e0stic [Aquesta exposici\u00f3 es va poder veure a [Regen Projects LA.<\/a> d’octubre a novembre de 2014]]. Una es vol acomodar, per imperatiu de l’obra, per\u00f2 resulta que \u00e9s dif\u00edcil trobar un forat en la rigidesa dels dissenys. En una de les pantalles una GoPro<\/em> a vol de dron, perseguint paracaigudistes, ens diu que Ryan i Lizzie tenen tamb\u00e9 altres registres. L’artista \u00e9s vers\u00e0til. A la resta, the usual<\/em>, nenes en drag accelerades de red bull marcant mugr\u00f3.<\/p>\n

Sobre la seva relaci\u00f3 amb la tecnologia l’artista diu que prefereix eines poc vers\u00e0tils. Nost\u00e0lgic, en una entrevista amb Hans Ulrich Obrist, Ryan recorda la transformaci\u00f3 que va experimentar despr\u00e9s de descobrir l\u2019 iMovie<\/em> a la universitat. Despr\u00e9s, diu, va tenir acc\u00e9s a les possibilitats que li obria l\u2019after effects<\/em>, per\u00f2 aquest software<\/em>, tot i permetre major grau de control sobre el producte, va alentir els seus processos d’edici\u00f3. L’aposta de Trecartin per allunyar-se de la causalitat del cinema torna a ser \u00f2bvia en la seva defensa del gui\u00f3 com un node detonant d’infinites possibilitats, m\u00e9s que per a la vertebraci\u00f3 narrativa dels seus v\u00eddeos. Els rodatges s\u00f3n de nit. Espais per al p\u00e0nic, per all\u00f2 espontani, all\u00f2 t\u00f2xic. En comptes de personificacions, els seus personatges s\u00f3n possibilitats. Comportaments observats en altres objectes. Adjectivacions. Predicacions aplicables a cossos i escenografies que s\u00f3n eines a la xarxa de pesca multiversa que Ryan i Lizzie orquestren. Pel que fa als continguts dels seus v\u00eddeos, Trecartin prefereix no jutjar. Ell gaudeix explorant el que passi en els plat\u00f3s de rodatge. Judicis positius i negatius coexisteixen en les seves pel\u00b7l\u00edcules, diu.<\/p>\n

Trecartin i Fitch col\u00b7laboren des dels seus anys com a estudiants a la Rode Island School of Design. Des d\u2019aleshores, el seu estudi de producci\u00f3 ha passat per Nova York i Nova Orleans, abans d\u2019assentar-se a Los Angeles. Han tingut importants exhibicions al MoMA PS1, Istanbul Modern, Mus\u00e9e d’Art Moderne de la Ville de Paris, The Power Plant de Toronto. La seva instal\u00b7laci\u00f3 Priority Innfield es va poder veure a la Biennal de Ven\u00e8cia de 2013, comentada en aquell moment a A*DESK per Sonia F. Pan<\/a>. Les tecnologies de l\u2019entreteniment s\u00f3n canal i fons. Les pel\u00b7l\u00edcules expandides de Fitch i Trecartin existeixen en identitat amb un Los Angeles on es viu de forma histri\u00f2nica, t\u00f2xica, en p\u00e0nic, mostrant mugr\u00f3. Aix\u00ed s\u00f3n els plans i els cossos i les habitacions i els colors. \u00bfCom aplicar l’actitud de la ciutat al format de la pel\u00b7l\u00edcula? Tel\u00e8fons m\u00f2bils i frases curtes repetides disciplinen els cossos en els seus v\u00eddeos, identitats femenines portades al sarcasme transvestint cossos no anunciats. Personatges que canvien de cossos, com capes, en dispersa representaci\u00f3 col\u00b7lectiva del pas a l’edat adulta. L’intent. Trecartin, diu, no vol posicionar-se.<\/p>\n

Les peces sens dubte mostren un profund comprom\u00eds amb el desenvolupament d’un formalisme actual [Algunes d’elles es poden veure en l\u00ednia, com [Center Jenny<\/a>, Any Ever (Trailer)<\/a> o A Family Finds Entertainment<\/a>]]. Demostren com les tecnologies determinen les imatges possibles del m\u00f3n i historitzen cada intent de representar-lo. Per\u00f2 la pretesa manca de posicionament que repeteix Trecartin mai \u00e9s tal. Reclamant l’\u00fas de tecnologies populars com l\u2019iMovie<\/em>, recreant-se en la submissi\u00f3 al red bull per viure en p\u00e0nic, defensant que aix\u00ed es persegueix l’eliminaci\u00f3 de les jerarquies, Trecartin busca col\u00b7locar-se simb\u00f2licament en el lloc d’un milennial<\/em> qualsevol, per\u00f2 ell no ho \u00e9s. La cr\u00edtica l’ha presentat des dels seus inicis com a nen prodigi que es limita a fer servir el que t\u00e9 al seu abast, com podem llegir al reportatge que se li dedica a l’\u00faltim n\u00famero de mar\u00e7 del 2014 del New Yorker. Aquesta aposta per un model biogr\u00e0fic per a l’an\u00e0lisi i la contextualitzaci\u00f3 d’una carrera art\u00edstica situa sempre el creador al pedestal de qui pot intuir el seu moment hist\u00f2ric. Alguns ens resistim a creure en aquesta manera d’escriure la hist\u00f2ria, ja que nom\u00e9s reprodueix la ceguera de qui la narra. Ens preguntem per la relaci\u00f3 entre aquest tipus de cr\u00edtica i el producte de Trecartin. La producci\u00f3 d’un artista i el seu acc\u00e9s a l’elit del sistema art no \u00e9s mai un s\u00edmptoma de l’organicitat de la figura del geni. Sempre es deu a relacions entre persones i tecnologies que computen generant objectes. Potser Fitch i Trecartin persegueixin la reconciliaci\u00f3 entre l’habitus<\/em> d’una classe a la qual no pertanyen i el seu lloc en el mercat de l’art. Est\u00e0 molt b\u00e9 que busquis renovar el v\u00eddeo contemporani incorporant els usos populars de la tecnologia m\u00e9s barata, per\u00f2 no tinguis la barra de dir que no perceps la difer\u00e8ncia entre ells i tu.<\/p>\n","protected":false},"excerpt":{"rendered":"

Entrar al Regen Projects t’obre les pupil\u00b7les: del sol intens de migdia al Santa M\u00f2nica Boulevard a les entranyes fosques d’un cub negre ocupat per escultures artr\u00f2podes brillants. Les criatures…<\/p>\n","protected":false},"author":1245,"featured_media":9051,"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":[6419],"acf":[],"yoast_head":"\nEl formalisme de Lizzie Fitch & Ryan Trecartin – 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\/el-formalisme-de-lizzie-fitch-ryan\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El formalisme de Lizzie Fitch & Ryan Trecartin – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Entrar al Regen Projects t’obre les pupil\u00b7les: del sol intens de migdia al Santa M\u00f2nica Boulevard a les entranyes fosques d’un cub negre ocupat per escultures artr\u00f2podes brillants. 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