{"id":9344,"date":"2016-01-25T16:19:27","date_gmt":"2016-01-25T16:19:27","guid":{"rendered":"http:\/\/a-desk.org\/2016\/01\/25\/arcimboldi-according-to-arco3248\/"},"modified":"2017-09-20T00:24:07","modified_gmt":"2017-09-20T00:24:07","slug":"arcimboldi-according-to-arco3248","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/arcimboldi-according-to-arco3248\/","title":{"rendered":"Arcimboldi according to ARCO"},"content":{"rendered":"

ARCO \u00e9s principalment una fira de pintura, i d’entre les nombroses modalitats de les arts pict\u00f2riques, i post-pict\u00f2riques, que s’exposen als seus estands, destaca sobre les altres l’abstracci\u00f3. Un recorregut per les naus d’IFEMA deixa ben clar que els dies de l’abstracte f\u00fanebre i negrista han quedat enrere, reservat avui per les sales de subhastes. En lloc seu, s’imposen les modalitats m\u00e9s vistoses i coloristes del no figuratiu. N’hi ha de cin\u00e8tiques -a les peces de Carlos Cruz D\u00edez-, lum\u00edniques -a les projeccions Rafael Lozano-Hemmer- o videogr\u00e0fiques, aix\u00ed una instal\u00b7laci\u00f3 de Daniel Canogar. Predominen les formes geom\u00e8triques, el color rectilini i un formalisme animat pel kitsch<\/em>. En aquest panorama la vella pintura no sembla ja tan vella; els acr\u00edlics de Broto, acompanyats, o emmarcats, per aquest repertori d’abstraccions, semblen una versi\u00f3 retrospectiva dels anteriors. L’\u00e0nim conceptual es relaciona, de manera sospitosa, amb la intenci\u00f3 decorativa; aix\u00ed, les obres de Sarah Morris, que inspirades en l\u2019op art<\/em>, tenen un aspecte digital per\u00f2 no ho s\u00f3n i, encara que declaren una intenci\u00f3 anal\u00edtica, compleixen amb l’exig\u00e8ncia que aquell personatge de Woody Allen li feia a un turmentat pintamones: “que faci joc amb l\u2019otomana”.<\/p>\n

I, sobre aquest transfons, les obres que donen compte dels cossos. O, m\u00e9s aviat, que al\u00b7ludeixen a la impossibilitat de representar-los completament. Sempre escrutats, poques vegades complets, mai autosuficients, sovint recombinats. Seccions anat\u00f2miques, \u00f2rgans a\u00efllats, bustos sense rostre, pr\u00f2tesis, estudis dels membres, genitalia, ulls, ulls, i recomposicions de la visi\u00f3. Tradicionalment aquests procediments han estat descrits per mitj\u00e0 d’una figura expressiva: la meton\u00edmia. La part pot representar el tot; la qualitat intr\u00ednseca d’un membre figura la virtut del seu amo. Per\u00f2 en tots aquests casos el moviment meton\u00edmic \u00e9s, alhora, insuficient i excessiu. Insuficient perqu\u00e8 les qualitats del membre no s\u00f3n extrapolables al cos sencer. Excessiu perqu\u00e8 el membre \u00e9s articulat amb un organisme exterior, tant si es tracta del corpus<\/em> jur\u00eddic, el cos social, el big data<\/em> o la matriu ideol\u00f2gica, i nom\u00e9s en segona inst\u00e0ncia amb els \u00f2rgans restants. Anomenem aquest procediment meton\u00edmia foucaultiana,<\/em> i definim-lo com una alienaci\u00f3 de la fisicitat pr\u00f2pia que \u00e9s coextensiva amb una postulaci\u00f3 de la Norma.<\/p>\n

Tot i no ser exclusius de la fira madrilenya, aquests dos elements de repertori constitueixen una part molt patent, al meu entendre la m\u00e9s not\u00f2ria, del seu paisatge iconogr\u00e0fic. Estar a ARCO \u00e9s trobar-se immers en una din\u00e0mica cognitiva entre aquestes dues constants i les seves modulacions. Dif\u00edcilment podria dir-se que aquesta polaritat ha estat “superada”. Est\u00e0 clar que en els nostres dies no sol plantejar-se ja com el terreny privilegiat de les conteses de pol\u00edtica art\u00edstica, per\u00f2 aflora en molts d’aquests debats, com per exemple en els projectes que es proposen treure a la llum les ideologies subjacents a la concepci\u00f3 essencialista de l’abstracci\u00f3, o la trama historicopol\u00edtica que va fer possible l’impacte internacional de la seva corrent nord-americana. M\u00e9s aviat es pot dir que la polaritat entre all\u00f2 figuratiu i all\u00f2 abstracte s’ha reformulat com una distinci\u00f3 entre all\u00f2 material i all\u00f2 digital, on el primer es presenta com una s\u00edntesi formal, mentre que el segon es revela com un incompletud estructural. L’organisme i l’organigrama: a l’aparici\u00f3 del cos com a emerg\u00e8ncia mutilada li correspon el desplegament de la imatge abstreta com absolut tecno-cient\u00edfc.<\/p>\n

\"Peter<\/p>\n

Si hagu\u00e9s de buscar una imatge que sintetitz\u00e9s aquesta din\u00e0mica escollir\u00edem aquesta litografia. Representat, en l’edici\u00f3 m\u00e9s recent de la fira, per tres galeries d’altres tres pa\u00efsos, Halley \u00e9s un habitual d’ARCO. I tot i que la imatge en q\u00fcesti\u00f3 no va poder veure\u2019s a Madrid, es tracta d’una variant sobre el seu repertori que pot resumir aquesta polaritat i les seves conseq\u00fc\u00e8ncies conceptuals. Tota la producci\u00f3 de Halley \u00e9s el desenvolupament d’una analogia, tan clara com efectiva: la cel\u00b7la d’una pres\u00f3 \u00e9s com el circuit d’un microxip. Aquesta comparaci\u00f3, desenvolupada per primera vegada en els seus treballs de finals dels setanta, \u00e9s una invariant que apareix com una versi\u00f3 de presons d’invenci\u00f3<\/em> de Piranesi adequada a les societats de control. Com els inferns piranesians, els de Halley s\u00f3n reiteratius, insistents i despoblats; la serialitat \u00e9s la manifestaci\u00f3 actual d\u2019all\u00f2 pan\u00f2ptic. Per\u00f2 a difer\u00e8ncia d’ells les seves representacions planes de la matriu de control estan sempre animades pel color fosforescent, l’impacte retini\u00e0 del Day-Glo i les juxtaposicions crom\u00e0tiques agosarades.<\/p>\n

En aquesta s\u00e8rie de litografies realitzades sobre paper zerktal apareix un element que, per inusual, resulta tant m\u00e9s significatiu: el cos escap\u00e7at, presentat en pla horitzontal inferior. Al diagrama reticular li correspon una fisicitat cabdal, t\u00e8cnica, decapitada i presa. Pel que fa al t\u00edtol de la s\u00e8rie, procedeix d’una de les fonts recurrents de la teoria art\u00edstica de l’autor: l’assaig d’Ortega sobre la deshumanitzaci\u00f3 de l’art. En diverses ocasions Halley ha portat a col\u00b7laci\u00f3 el passatge del text ortegui\u00e0 en qu\u00e8 es descriu, elogiosament, la decisi\u00f3 dels artistes moderns d’evitar la influ\u00e8ncia de les concepcions rom\u00e0ntiques de la sentimentalitat, que ell descriu com “contaminant”. Aquesta idea s\u2019expressa en el rebuig de les formes corbes, que Ortega associava amb all\u00f2 femen\u00ed ent\u00e8s com a dip\u00f2sit de passions irracionals -una percepci\u00f3 en el substrat misogin, desenvolupat en altres escrits de l’autor, Halley no ha cregut necessari abundar. La seva versi\u00f3 litogr\u00e0fica d’aquesta idea d\u00f3na compte d’un proc\u00e9s contaminant ambigu, una malaltia amb dos s\u00edmptomes: la irrupci\u00f3 d\u2019all\u00f2 f\u00edsic a la circularitat minimalista dels xips i la inserci\u00f3 d’aquest cos, tot just curvilini, i les seves calculades rodoneses, a la pl\u00e8tora dels circuits.<\/p>\n

A la traject\u00f2ria de Halley Contaminaciones<\/em> s’inscriu en una deriva recent que l’ha portat a adaptar la seva imatgeria de marca emprant-la com a rerefons, i ja no nom\u00e9s com a totalitat, i obrint un segon pla al seu dispositiu visual. Aquest pl\u00e0nol sol estar ocupat per retalls psicod\u00e8lics que, en emergir del circuit, desestabilitzen el seu ordre, com es pot comprovar a les obres realitzades a quatre mans amb Yago Hortal que s’exposen actualment a Senda Gallery. Aquesta alternan\u00e7a es pot veure desplegada al panorama<\/em> d’ARCO, que, per mitj\u00e0 de successives variants, va oferint els desenvolupaments emocionals que aquesta polaritat permet, i les manifestacions principals s\u00f3n el dramatisme (en els cossos capturats per les arquitectures del control); l’efusi\u00f3 (en les obres que proposen un heroisme biopol\u00edtic o mot\u00ed carcerari); el cinisme (en les freq\u00fcent discordan\u00e7a entre el mecanicisme de l’abstracci\u00f3 i el seu colorisme lleuger) i, last but not least<\/em>, el fatalisme: la construcci\u00f3 de g\u00e8nere com un Etern Femen\u00ed ent\u00e8s, a la manera construccionista, no ja com a ess\u00e8ncia biol\u00f2gica sin\u00f3 com invariant transhist\u00f2rica.<\/p>\n","protected":false},"excerpt":{"rendered":"

ARCO \u00e9s principalment una fira de pintura, i d’entre les nombroses modalitats de les arts pict\u00f2riques, i post-pict\u00f2riques, que s’exposen als seus estands, destaca sobre les altres l’abstracci\u00f3. Un recorregut…<\/p>\n","protected":false},"author":1334,"featured_media":9342,"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":[3555],"tags":[],"coauthors":[6497],"acf":[],"yoast_head":"\nArcimboldi according to ARCO – 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\/arcimboldi-according-to-arco3248\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arcimboldi according to ARCO – A*Desk\" \/>\n<meta property=\"og:description\" content=\"ARCO \u00e9s principalment una fira de pintura, i d’entre les nombroses modalitats de les arts pict\u00f2riques, i post-pict\u00f2riques, que s’exposen als seus estands, destaca sobre les altres l’abstracci\u00f3. 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