{"id":9074,"date":"2015-02-23T01:05:00","date_gmt":"2015-02-23T01:05:00","guid":{"rendered":"http:\/\/a-desk.org\/2015\/02\/23\/nueva-traduccion-que-es-la-ciudad\/"},"modified":"2023-07-10T12:32:10","modified_gmt":"2023-07-10T10:32:10","slug":"nueva-traduccion-que-es-la-ciudad","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/nueva-traduccion-que-es-la-ciudad\/","title":{"rendered":"Qu\u00e8 \u00e9s la ciutat si no la gent? Jeremy Deller al CA2M"},"content":{"rendered":"<p><iframe loading=\"lazy\" width=\"670\" height=\"503\" src=\"https:\/\/www.youtube.com\/embed\/3ncrWxnxLjg\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>Nom\u00e9s per haver fet <em>The Battle of Orgreave (An Injury to One is an injury to All) (La Batalla de Orgreave (si en fereixen a un fereixen a tots)<\/em> (2001), Jeremy Deller mereix una posici\u00f3 destacada entre els artistes del segle XXI. Afortunadament per a ell, Orgreave \u00e9s un entre altres brillants treballs. La traject\u00f2ria de Deller es defineix a partir de fites remarcables, com la reconstrucci\u00f3 de la dura confrontaci\u00f3 entre policies i miners que va tenir lloc a Orgreave (South Yorkshire) l\u2019any 1981, que va significar la fi d&#8217;una \u00e8poca d&#8217;industrialitzaci\u00f3 i que, de la m\u00e0 del neoliberalisme m\u00e9s salvatge de l&#8217;\u00e8poca Thatcher, va donar pas a una economia basada en l&#8217;entreteniment i els serveis. Un altre treball clau \u00e9s <em>The History of the World (La Hist\u00f2ria del M\u00f3n)<\/em> (1997) un diagrama dibuixat sobre la paret que posa en relaci\u00f3 les connexions entre l&#8217;escena musical i el context social i pol\u00edtic a la Gran Bretanya, un mapa mental que estableix una xarxa d&#8217;influ\u00e8ncies i relacions que vincula dos estils musicals \u2013l\u2019acid house i les brass bands- amb fets com la desindustrialitzaci\u00f3 o la vaga de la mineria, mentre subratlla el component de dissid\u00e8ncia -en relaci\u00f3 a l&#8217;ordre social i pol\u00edtic del moment- que tots dos comparteixen.<\/p>\n<p><img decoding=\"async\" class=\" alignleft size-full wp-image-9071\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2015\/02\/jeremydeller_01.jpg\" alt=\"a) Jeremy Deller\" align=\"left\" width=\"670\" height=\"376\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/02\/jeremydeller_01.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2015\/02\/jeremydeller_01-595x334.jpg 595w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/><\/p>\n<p>M\u00e9s exemples: <em>So Many Ways to Hurt you (The Life and Times of Adrian Street), Tantes maneres de fer-te mal (Vida i \u00e8poca d&#8217;Adrian Street)<\/em> (2010) \u00e9s la biografia, explicada per ell mateix, del fill d&#8217;un miner gal\u00b7l\u00e8s a qui el seu pare i la seva comunitat van ridiculitzar i que, fascinat pel culturisme, va acabar fent carrera en els anys seixanta i setanta com a lluitador professional, amb aparicions estel\u00b7lars en programes de televisi\u00f3. El mateix Adrian Street narra les seves viv\u00e8ncies i s&#8217;autodefineix en un poema com \u00abun dol\u00e7 transvestit amb un nas trencat.\u00bb La seva extravag\u00e0ncia el va portar als Estats Units, on va fer carrera com a figura destacada del <em>wrestling<\/em>, la lluita lliure americana, per continuar vivint a Florida i regentant un taller d&#8217;indument\u00e0ria, que ell mateix dissenya, relacionada amb la ind\u00fastria de la lluita lliure. Una altra personalitat tan idiosincr\u00e0tica com el mateix Adrian Street, i tamb\u00e9 exemple de reinvenci\u00f3, \u00e9s <em>The Bruce Lacey Experience (El M\u00f3n de Bruce Lacey)<\/em> (2012), un perfil art\u00edstic ben peculiar, amb el que m\u00e9s que emfatitzar la seva extravag\u00e0ncia, posa sobre la taula l&#8217;estandarditzaci\u00f3 de l&#8217;escena art\u00edstica i cultural. O finalment, <em>English Magic (M\u00e0gia Anglesa)<\/em>, la seva proposta per al pavell\u00f3 brit\u00e0nic de la Biennal de Ven\u00e8cia de 2013, en la qual elabora un retrat cr\u00edtic de la Gran Bretanya, on no falten les al\u00b7lusions a la corrupci\u00f3 o l&#8217;intervencionisme internacional, i en el qual, en definitiva, mostra tot el que estima i tamb\u00e9 el que odia del seu pa\u00eds.<\/p>\n<p><img decoding=\"async\" class=\" alignleft size-full wp-image-9072\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2015\/02\/Jeremi_Deller_0072.jpg\" alt=\"b) Jeremy Deller\" align=\"left\" width=\"670\" height=\"443\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2015\/02\/Jeremi_Deller_0072.jpg 670w, https:\/\/a-desk.org\/wp-content\/uploads\/2015\/02\/Jeremi_Deller_0072-595x393.jpg 595w\" sizes=\"(max-width: 670px) 100vw, 670px\" \/><\/p>\n<p>Si fem aquest rep\u00e0s per la traject\u00f2ria de Jeremy Deller \u00e9s perqu\u00e8 aquests dies es poden revisar aquests i d\u2019altres treballs en una exposici\u00f3 intel\u00b7ligentment comissariada per Cuauht\u00e9moc Medina, Amanda de la Garza i, sens dubte, el mateix artista, al <a href=\"http:\/\/ca2m.org\/es\/\">Centro de Arte 2 de Mayo<\/a> a M\u00f3stoles, Madrid. \u00c9s aquesta una mostra que encaixa a la perfecci\u00f3 en la l\u00ednia discursiva del centre, dirigit per Ferran Barenblit, que en alguns moments ha centrat la seva atenci\u00f3 en aspectes relacionats amb la m\u00fasica o la cultura popular com a elements que defineixen el nostre present.<\/p>\n<p><em>Jeremy Deller. L&#8217;ideal infinitament variable del popular<\/em> \u00e9s una exposici\u00f3 que pren el seu t\u00edtol de Baudelaire i la seva apel\u00b7laci\u00f3 al &#8220;ideal infinitament variable de la bellesa&#8221;. No \u00e9s casualitat l&#8217;aparici\u00f3 aqu\u00ed de Baudelaire qui, de fet, sempre va defensar la posici\u00f3 lliure de l&#8217;artista davant els mitjans que utilitzava, paral\u00b7lelisme que en el cas de Deller \u00e9s ben clar. La mostra s&#8217;inicia cronol\u00f2gicament amb <em>Open Bedroom (Habitaci\u00f3 oberta)<\/em> (1993-2012), una instal\u00b7laci\u00f3 que recrea l&#8217;exposici\u00f3 que l&#8217;artista va fer al que era el seu &#8220;estudi&#8221; mentre estudiava, la seva habitaci\u00f3 a casa dels seus pares, aprofitant una abs\u00e8ncia d&#8217;aquests, i de la qual nom\u00e9s van tenir not\u00edcia deu anys m\u00e9s tard, quan van veure les imatges en un llibre. La instal\u00b7laci\u00f3, que recrea no nom\u00e9s les obres presentades sin\u00f3 tamb\u00e9 l&#8217;entorn, enlla\u00e7a directament amb tota una llista d&#8217;iniciatives independents d&#8217;artistes i comissaris en espais privats i personals, com Hans-Ulrich Obrist a la cuina de casa, Hou Hanru al passad\u00eds del seu apartament a Par\u00eds o Mart\u00ed Manen a la seva habitaci\u00f3, entre molt\u00edssims altres.<\/p>\n<p><em>Jeremy Deller. L&#8217;ideal infinitament variable d\u2019all\u00f2 popular<\/em> es va aturant, com esment\u00e0vem al principi, en les fites de la seva traject\u00f2ria. El que s&#8217;evidencia en aquest recorregut \u00e9s com el seu treball es converteix en una investigaci\u00f3 d\u2019all\u00f2 popular, de l&#8217;est\u00e8tica de la participaci\u00f3: sovint l&#8217;artista \u00e9s l&#8217;iniciador o catalitzador de processos per als quals compta amb col\u00b7laboracions ben diverses, cedint el protagonisme a grups diversos, ja siguin miners, fans de grups musicals, brass bands o artesans que realitzen els m\u00e9s incre\u00efbles estendards. Per\u00f2, sobretot, reconstrueix hist\u00f2ries del passat, ja siguin col\u00b7lectives o individuals. Aquestes reconstruccions evidencien diferents coses, per exemple, la desindustrialitzaci\u00f3 d&#8217;un pa\u00eds i com tracta a les persones (<em>The Battle of Orgreave<\/em>), a la vegada que es constitueix en un toc d&#8217;atenci\u00f3 davant els efectes de l&#8217;avan\u00e7 implacable del neoliberalisme m\u00e9s salvatge, una refer\u00e8ncia que no ha de passar-nos per alt, ja que si la Gran Bretanya va anar primer, la resta d&#8217;Europa es troba ara mateix a les portes d&#8217;aquest tipus de nefast proc\u00e9s. Tamb\u00e9 mostra el pas d&#8217;un model de pa\u00eds industrialitzat a un altre basat en l&#8217;entreteniment (<em>So Many Ways to Hurt You (The Life and Times of Adrian Street<\/em>) o el lloc que queda per a les actituds independents i idiosincr\u00e0tiques (<em>The Bruce Lacey experience)<\/em>. Per\u00f2 sobretot es d\u00f3na valor a les persones, que s\u00f3n al centre de tot (<em>What is the City but the People? (Qu\u00e8 \u00e9s la ciutat sin\u00f3 la gent?)<\/em> (2009) una instal\u00b7laci\u00f3 al metro de Londres, en el qual apareixien una s\u00e8rie de cites de Shakespeare, Pascal o Ionesco).<\/p>\n<p>El treball de Deller parla de llibertat, de la capacitat de redefinir i de reinventar-se, mostra els conflictes i les seves conseq\u00fc\u00e8ncies, per\u00f2 sobretot ofereix la possibilitat d&#8217;un espai per al pensament. I, <em>last but not least<\/em>, ens apel\u00b7la directament, no nom\u00e9s perqu\u00e8 utilitza tot tipus de materials i mitjans art\u00edstics de proced\u00e8ncia ben diversa, sin\u00f3 sobretot perqu\u00e8 respira honestedat, entusiasme i emoci\u00f3.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nom\u00e9s per haver fet The Battle of Orgreave (An Injury to One is an injury to All) (La Batalla de Orgreave (si en fereixen a un fereixen a tots) (2001),&#8230;<\/p>\n","protected":false},"author":1239,"featured_media":9071,"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":[3576],"tags":[5730,5764,5765,5545,5804,5621],"coauthors":[6368],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Qu\u00e8 \u00e9s la ciutat si no la gent? 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