{"id":9349,"date":"2016-02-01T01:00:00","date_gmt":"2016-02-01T01:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2016\/02\/01\/hito-steyerl-refinament-tecnologic\/"},"modified":"2017-09-20T00:23:01","modified_gmt":"2017-09-20T00:23:01","slug":"hito-steyerl-refinament-tecnologic","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/hito-steyerl-refinament-tecnologic\/","title":{"rendered":"Hito Steyerl. Refinament tecnol\u00f2gic i estupidesa moral"},"content":{"rendered":"

\"Hito<\/p>\n

Vivim en un m\u00f3n de circulaci\u00f3 generalitzada en el qual tots naveguem per espais digitals, financers o comunicatius. En les societats actuals, la sobirania dels pa\u00efsos s’ha redu\u00eft de forma notable davant un m\u00f3n global desgovernat, i s\u00f3n els interessos econ\u00f2mics els que modifiquen les regles del joc. La imatge del m\u00f3n que percebem es perfila entre all\u00f2 l\u00edquid i el gas\u00f3s, entre el tr\u00e0nsit de navilieres que mouen el m\u00f3n i transporten per mar la majoria de productes que consumim, i els milions de bits invisibles generats per m\u00e0quines que circulen per Internet i als quals no tenim acc\u00e9s.<\/p>\n

Duty-Free Art<\/em><\/a> \u00e9s l’exposici\u00f3 de Hito Steyerl al Museu Reina Sofia. Artista, activista, te\u00f2rica de l’art i de la comunicaci\u00f3, alumna de Harun Farocki i en la l\u00ednia d’artistes com Allan Sekula, Steyerl \u00e9s una figura molt respectada per la comunitat art\u00edstica, degut en gran mesura a la profusi\u00f3 dels seus escrits i teories, recopilats l\u2019any passat a l’assaig Condenados a la pantalla<\/em>[[Hito Steyerl, Los condenados de la pantalla, Ed. Caja negra, 2014.]]. En sintonia amb el pensament d’autors com Zygmunt Bauman, Steyerl va concebre el terme circulacionisme<\/em> per definir un m\u00f3n l\u00edquid i immaterial de dades interconnectats, en el qual les imatges s\u00f3n produ\u00efdes, distribu\u00efdes i consumides en el marc d’un capitalisme audiovisual. No oblidem que la informaci\u00f3 no flueix en el buit sin\u00f3 que es presenta en un marc pol\u00edtic i tecnol\u00f2gic ja donat i organitzat en jerarquies de poder.<\/p>\n

L’exposici\u00f3 est\u00e0 articulada a trav\u00e9s de tretze v\u00eddeo-instal\u00b7lacions amb una mitjana de durada de quaranta minuts cadascuna d’elles. Per\u00f2 fins i tot el que \u00e9s bo cansa. Lluny de ser am\u00e8, el conjunt convida a la tra\u00efci\u00f3 i a voler passar de puntetes sala rere sala. No obstant aix\u00f2, tot i el factor hum\u00e0- la fatiga-, el treball d\u2019Hito ens \u00abcondemna a la pantalla\u00bb perqu\u00e8 exposa pors compartides i assumptes que ens afecten a tots: la vigil\u00e0ncia i el control persistents del qual ning\u00fa escapa; la irresponsabilitat pol\u00edtica generalitzada; el detriment de l’experi\u00e8ncia real en un m\u00f3n cada vegada m\u00e9s mediatitzat; la crisi econ\u00f2mica actual i els seus efectes o l’exist\u00e8ncia de cada vegada m\u00e9s \u00abforats negres\u00bb dels que ning\u00fa es fa responsable. En el pr\u00f2leg de l’esmentat assaig, el fil\u00f2sof Franco Berardi, Bifo, a partir d’un text d\u2019Hito Steyerl, Els Spam de la terra: desertar de la representaci\u00f3<\/em>, ens alerta sobre una societat futura ja extingida en la qual uns extraterrestres se sorprendran algun dia de \u00abla nostra incre\u00efble barreja de refinament tecnol\u00f2gic i la nostra extrema estupidesa moral\u00bb.<\/p>\n

Gilles Lipovetsky escrivia ja en als anys noranta sobre una efervesc\u00e8ncia \u00e8tica -encara que indolora i puntual, en la qu\u00e8 el patiment dels altres i les injust\u00edcies alienes ens resultaven insuportables perqu\u00e8 atemptaven contra la nostra pr\u00f2pia qualitat i estil de vida. Avui de nou, i des de totes parts, se’ns exhorta amb imperatius \u00e8tics: hem de protegir el medi ambient; ser hospitalaris amb els moviments migratoris; guiar-nos per bones pr\u00e0ctiques; crear codis deontol\u00f2gics i emprendre accions humanit\u00e0ries. En definitiva, hem de ser responsables amb nosaltres mateixos \u2013cosa que ha provocat una hist\u00e8ria generalitzada vers la cura i atenci\u00f3 del Jo-, per\u00f2 tamb\u00e9 fer-nos c\u00e0rrec i acceptar la culpa de tot el que ens envolta, des de la degradaci\u00f3 del medi ambient fins la sobreexplotaci\u00f3 en pa\u00efsos subdesenvolupats. I sobretot, i potser aqu\u00ed ve el m\u00e9s rellevant, el ciutad\u00e0 mig exigeix ara una \u00e8tica als governs, \u00e9s a dir, \u00abuna \u00e8tica p\u00fablica\u00bb -esperem que no indolora- que ens salvaguardi de la infinitud de riscos globals que semblen envoltar l\u2019\u00e9sser hum\u00e0. Un altre assumpte \u00e9s si serem capa\u00e7os d’assumir els sacrificis i ren\u00fancies necessaris per viure en un m\u00f3n m\u00e9s \u00e8tic.<\/p>\n

Diversos d’aquests temes s\u00f3n presents a l’obra d\u2019Steyerl. A la pe\u00e7a que d\u00f3na t\u00edtol a l’exposici\u00f3, Duty Art Free<\/em>, revela l’anormalitat dels dip\u00f2sits d’art en zones franques, enormes naus industrials on hi ha col\u00b7leccionistes que guarden les seves obres per evitar pagar els corresponents impostos. Steyerl ens explica alguns dels secrets i connexions m\u00e9s deshonestos de l’art amb el capitalisme, com el centenar de correus difosos per WikiLeaks entre el president siri\u00e0 Baixar al-Assad i tres despatxos d’importants arquitectes. A Is the Museum a Battelfield?<\/em> (2013), una confer\u00e8ncia-performance realitzada durant la Biennal d’Istanbul, l’artista q\u00fcestiona la proced\u00e8ncia dels fons dels museus, als quals considera com \u00abcamps de batalla\u00bb pol\u00edtica. Durant la confer\u00e8ncia, l’artista sentencia que “per atacar al museu primer cal atacar la pantalla”, una declaraci\u00f3 d’intencions que trobem materialitzada a la primera sala del recorregut, Strike<\/em> (2010), un v\u00eddeo en el qual veiem a l’artista colpejar amb un cisell la pantalla d’un televisor. Sols que en aquest cas el museu en el qual s’exposa roman intacte.<\/p>\n

A Guards<\/em> (2012), Steyerl presenta a uns militars que assagen estrat\u00e8gies de defensa i atac davant d\u2019un “objectiu feble”: el museu. El visitant es converteix aix\u00ed en una amena\u00e7a per les obres. How Not to Be Seen: A Fucking Didactic Educational. MOV File<\/em> (2014), ens ofereix una mena de manual per a ser invisibles i escapar de la cont\u00ednua vigil\u00e0ncia que patim. Sobre la saturaci\u00f3 i la circulaci\u00f3 d’imatges reflexiona Liquidity, Inc.<\/em> (2014), on l’aigua es converteix en una met\u00e0fora, que enlla\u00e7a al seu torn amb la idea de circulacionisme<\/em> que ha desenvolupat en els seus escrits. In Free Fall<\/em> (2010), ens converteix en protagonistes d’un accident d’avi\u00f3, relacionant-lo amb la crisi econ\u00f2mica actual.<\/p>\n

Que sorgeixin veus cr\u00edtiques des de l’art \u00e9s obligat, en tant que l’art i la cultura no queden al marge de la barb\u00e0rie. O en paraules del te\u00f2ric Peter Osborne, que cita Steyerl textualment a la pe\u00e7a Duty Free Art<\/em>: \u00abel problema de l’art \u00e9s que no t\u00e9 un espai com\u00fa\u00bb. \u00c9s potser el moment de construir-lo i que l’art i els museus tamb\u00e9 assumeixin la seva part de responsabilitat en aquest eixam de males pr\u00e0ctiques que ens condemna a tots a ser c\u00f2mplices.<\/p>\n","protected":false},"excerpt":{"rendered":"

Vivim en un m\u00f3n de circulaci\u00f3 generalitzada en el qual tots naveguem per espais digitals, financers o comunicatius. En les societats actuals, la sobirania dels pa\u00efsos s’ha redu\u00eft de forma…<\/p>\n","protected":false},"author":1246,"featured_media":9347,"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":[3493],"tags":[5690,5486],"coauthors":[6418],"acf":[],"yoast_head":"\nHito Steyerl. 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