{"id":9503,"date":"2016-08-22T01:00:00","date_gmt":"2016-08-22T01:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2016\/08\/22\/l-arxiu-a-desk-segons-antonio\/"},"modified":"2023-07-10T12:30:59","modified_gmt":"2023-07-10T10:30:59","slug":"l-arxiu-a-desk-segons-antonio","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/l-arxiu-a-desk-segons-antonio\/","title":{"rendered":"L’Arxiu A*DESK segons… Antonio Ortega"},"content":{"rendered":"

A difer\u00e8ncia d’altres manifestacions culturals, m\u00e9s vinculades al text, en les arts visuals no fem servir una divisi\u00f3 per g\u00e8neres. No hi ha un Art de Terror, ni Art Thriller, ni Art Polic\u00edac, per descomptat tampoc hi ha Art C\u00f2mic.<\/p>\n

Montse Badia l’any 2005 realitza una modesta exposici\u00f3 m\u00e9s una activitat, en el context de la QUAM, que titula Mind the gap. Llavors es preguntava Com pot l’art tenir una projecci\u00f3 real a la societat?<\/p>\n

En l’article de Montse Badia, que selecciono com a lectura per a aquest estiu, escrit l’any 2013: S\u00e0tira i par\u00f2dia com a estrat\u00e8gies de cr\u00edtica<\/em>, l’autora sembla intuir alguna possible recepta sobre el dilema que ella havia plantejat gaireb\u00e9 deu anys abans. Convidant a assumir, en el context de les arts visuals, estrat\u00e8gies de comunicaci\u00f3 pr\u00f2pies de la cultura popular. Es tracta d’un recurs que, lamentablement, apareix en molt poques ocasions. No \u00e9s casual que la paraula m\u00e9s usada en els t\u00edtols de les can\u00e7ons de m\u00fasica pop sigui: amor. Mentre a les arts visuals sigui: sense t\u00edtol.<\/p>\n

Text seleccionat: S\u00e0tira i par\u00f2dia com estrat\u00e8gies de cr\u00edtica<\/a> de Montse Badia, publicat el 18 de gener de 2013<\/strong><\/p>\n

S\u00c0TIRA I PAR\u00d2DIA COM ESTRAT\u00c8GIES DE CR\u00cdTICA<\/p>\n

\"Siouxsie_Mittagessen.jpg\" <\/p>\n

A l’\u00e0mbit del branding, “baseline” \u00e9s la frase de comunicaci\u00f3 que acompanya la marca en tots els suports de comunicaci\u00f3 que s’utilitzen per promocionar-la. \u00c9s el “Just do it” de Nike, “Connecting people” de Nokia, “Move your mind” de Saab o “Think Different” d’Apple. En termes col\u00b7loquials, els professionals del branding es refereixen al “baseline” com a “vaseline”, \u00e9s a dir, el lubricant que fa que “entri” el missatge.<\/p>\n

En el context de la cultura, l’humor, la par\u00f2dia i la s\u00e0tira poden tenir aquest efecte “vaseline” que permet als seus autors realitzar implacables cr\u00edtiques de fets, situacions o sistemes q\u00fcestionables. Hi ha moments en qu\u00e8 la realitat \u00e9s tan dura, desconcertant, poc raonable i injusta, que nom\u00e9s mitjan\u00e7ant la representaci\u00f3 par\u00f2dica sembla que es poden agitar les percepcions i les consci\u00e8ncies. Un d’aquests moments van ser els convulsos anys 30, quan van sorgir els fotomuntatges pol\u00edtics de John Heartfield (nascut Helmut Herzfeld): Adolf Der \u00dcbermensch: Schluckt Gold und redet Blech<\/a> (Adolf, Superman: s’empassa or i parla ferralla<\/em>), en el qual es pot veure, a l’interior de Hitler i amb l’ajuda de raigs X, una pila de monedes d’or; Goering: Der Henker des Dritten Reichs<\/a> (G\u00f6ring l’executor del Tercer Reich<\/em>) apareix caracteritzat com un carnisser o Hurrah, die Butter is alle!<\/a> (Hurra! La mantega s’ha acabat<\/em>), en el qu\u00e8 una fam\u00edlia asseguda al voltant d’una taula no t\u00e9 res m\u00e9s per menjar que trossos de metall, en refer\u00e8ncia a una desafortunada frase de G\u00f6ring pronunciada durant un per\u00edode d’escassetat d’aliments, quan va afirmar que el metall sempre ha fet fort a la naci\u00f3, mentre que la mantega i els greixos nom\u00e9s creen gent grassa. No \u00e9s casualitat que Hurrah, die Butter is Alle!<\/em> fos homenatjada pel punk<\/em> en moments posteriors i tamb\u00e9 molt cr\u00edtics, apareixent a la portada del disc “Mittageisen” de Siouxsie and the Banshees.<\/p>\n

Els hereus del fotomuntatge de Heartfield o de Jacob Kjeldgaard (que amb el pseud\u00f2nim de Marinus<\/em> va realitzar cr\u00edtics fotocollages per al diari franc\u00e8s Marianne<\/em>) es troben ara mateix en la premsa escrita, en revistes sat\u00edriques com El Jueves<\/em>, Karma Dice<\/em>, Charlie Hebdo<\/em>, o, d’aparici\u00f3 m\u00e9s recent, Mong\u00f2lia<\/a><\/em> “la revista sat\u00edrica sense cap mena de missatge”, que es defineix a partir d’un manifest\/dec\u00e0leg<\/a>, que deixa ben clar quin \u00e9s el missatge, i que en cada n\u00famero inclou la secci\u00f3 “Reality News”, amb reportatges d’investigaci\u00f3 (dels seriosos) en qu\u00e8 la realitat supera qualsevol par\u00f2dia.<\/p>\n

A TV3, la televisi\u00f3 auton\u00f2mica catalana, al febrer de l’any 2006, va n\u00e9ixer Pol\u00f2nia<\/em><\/a>, un programa de s\u00e0tira pol\u00edtica, el nom del qual ironitza amb la denominaci\u00f3 de \u201cpolacos\u201d, un terme despectiu i col\u00b7loquial usat per referir-se als catalans. L’actualitat pol\u00edtica s’est\u00e0 tornant tan auto-par\u00f2dica que els guionistes del programa ho tenen cada setmana m\u00e9s dif\u00edcil per superar-la. El retrat que Pol\u00f2nia<\/em> fa de la societat catalana, espanyola i internacional \u00e9s tan precisa com implacable: el Mas style, Obama i Bin Laden a la proa del vaixell emulant la m\u00edtica escena del film Titanic, abans que, ups!, Bin Laden se\u2019n vagi per la borda; o el ministre espanyol d’Educaci\u00f3, Cultura i Esport, Jos\u00e9 Ignacio Wert, caracteritzat com un casp\u00f3s i pervers personatge de ci\u00e8ncia ficci\u00f3, entre d’altres, configuren un univers de caricatures de personatges i situacions reals, que funciona com un mirall deformant d’una realitat ja bastant deformada.<\/p>\n

Per\u00f2, i l’art? La s\u00e0tira, la ironia o la broma \u00e0cida s\u00f3n alguns dels recursos de l’art per criticar o denunciar una realitat determinada. Honor\u00e9 Daumier realitzava caricatures amb les coses que li desagradaven de la societat en qu\u00e8 li havia tocat viure. William Hogarth elaborava “modern moral subjects”, que eren par\u00f2dies d’all\u00f2 que volia posar en evid\u00e8ncia. Exemples m\u00e9s recents els trobem en Dan Perjovschi<\/a>, que fa dibuixos que prenen la hist\u00f2ria com un continu d’esdeveniments, o David Shrigley<\/a>, els dibuixos del qual al\u00b7ludeixen als aspectes m\u00e9s foscos de l’exist\u00e8ncia quotidiana. Per tal de fer m\u00e9s accessibles els seus treballs, Shrigley no t\u00e9 problema en utilitzar tot tipus de canals i formats. \u00c9s capa\u00e7 de fer instal\u00b7lacions; fotografies; escultures; dibuixos; llibres; cobertes de discos; p\u00f2sters; tattoos; objectes diversos, com salers i pebrers; intervencions en aparadors i en l’espai p\u00fablic, o senyals de llibres.<\/p>\n

No obstant, si hagu\u00e9ssim de buscar l’equivalent a l’estil Pol\u00f2nia en art contemporani, aquest podria ser Maurizio Cattelan, capa\u00e7 de combinar escultura i performance, ridiculitzant qui sigui necessari, i transgressor, moltes vegades en relaci\u00f3 a l’espectador. El seu petit Hitler, castigat de genolls, o el Papa Joan Pau II, abatut per un meteorit, en s\u00f3n bons exemples, i s’han convertit en imatges recurrents per il\u00b7lustrar els articles en la premsa generalista que peri\u00f2dicament llancen una “original” pregunta “Aix\u00f2 \u00e9s art?”. Quina \u00e9s, doncs, la difer\u00e8ncia? Quina l’efectivitat de l’estrat\u00e8gia? Pol\u00f2nia<\/em> \u00e9s televisi\u00f3 i Cattelan un artista que, encara que pugui treballar en l’espai p\u00fablic, sempre s’emmarca dins el sistema de l’art. Pol\u00f2nia<\/em> no ha de justificar que el que fa \u00e9s humor, televisi\u00f3 o cr\u00edtica pol\u00edtica, mentre que Cattelan sovint ha de justificar que el que fa \u00e9s art. Els aspectes cr\u00edtics es discuteixen despr\u00e9s, i l’humor, el “vaseline” de l’humor, pot tamb\u00e9 resultar complicat per a la complexitat i la sofisticaci\u00f3 que, en el fons, es troba a l’ADN del m\u00f3n de l’art.<\/p>\n","protected":false},"excerpt":{"rendered":"

A difer\u00e8ncia d’altres manifestacions culturals, m\u00e9s vinculades al text, en les arts visuals no fem servir una divisi\u00f3 per g\u00e8neres. No hi ha un Art de Terror, ni Art Thriller,…<\/p>\n","protected":false},"author":1343,"featured_media":7225,"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":[3551],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nL'Arxiu A*DESK segons... 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