archivo MOR, un Museo Oral de la Revoluci\u00f3n,<\/a> concebido por Beatriz Preciado y realizado a partir de la investigaci\u00f3n y la colaboraci\u00f3n de los alumnos del PEI (Programa de Estudios Independientes) del MACBA. Archivo-exposici\u00f3n performativo y sonoro, el MOR se estructur\u00f3 en talleres, performances, itinerarios por el Raval e interpretaciones p\u00fablicas de enunciados, discursos o manifiestos. Todas las actividades se trazaron partiendo del cuestionamiento sobre c\u00f3mo hacer audibles (en el contexto del museo y de la ciudad contempor\u00e1nea) los lenguajes hist\u00f3ricos de transformaci\u00f3n social, e inventados por las minor\u00edas raciales, de g\u00e9nero, sexuales, corporales y de diversidad funcional y cognitiva.<\/p>\n![\"b)](\"http:\/\/a-desk.org\/wp-content\/uploads\/2013\/12\/mor-foto-texto.jpg\")
<\/p>\n
Desde Tussaint-Louverture, Olympe de Gouges, Jean Deroin, Karl Ulrich y Larry Kramer entre otros, se han escuchando voces de cuerpos abyectos que se han declarado sujetos pol\u00edticos sin haber tenido derecho a hablar p\u00fablicamente. \u00bfC\u00f3mo sucede esto? Pregunt\u00f3 Ranci\u00e8re. Se invit\u00f3 a los artistas y participantes a responder \u00e9sta y otras preguntas: \u00bfC\u00f3mo se inventa una escena de la enunciaci\u00f3n? \u00bfCu\u00e1l es la \u201cvoz contempor\u00e1nea\u201d que irrumpe en el lenguaje de la ley para interrumpir su funcionamiento un\u00edvoco? cuestion\u00f3 J. Butler.<\/p>\n
Muchas de las experiencias a las que se hacen referencia en el archivo MOR dejan claro que hay un valor importante en la manera en que las minor\u00edas lanzan enunciados construidos colectivamente. De forma molecular, microsc\u00f3pica, exc\u00e9ntrica y no por ello inexistente. Con el mismo efecto acumulativo que nos provoc\u00f3 a los participantes, la experiencia de intensificar la escucha en la obscuridad o la enunciaci\u00f3n de actos del habla; la oralidad de lo dicho pas\u00f3 de imperceptible e individual a colectiva y corp\u00f3rea. Resonancias, ecos, voces. Ya no eran nuestras, sino de todos. <\/p>\n
La invitaci\u00f3n a entender ahora la potencia de nuestra situaci\u00f3n como una conjunci\u00f3n concreta de cuerpos, sentidos, quehaceres, rutinas, e interrupciones era clara, y nos conducir\u00eda a asumir que los cuerpos que “se contin\u00faan”, dice Marina Garc\u00e9s, tendr\u00e1n la posibilidad de construir una voz compuesta de multitud, org\u00e1nica y diversa. Esa concatenaci\u00f3n de cuerpos nacida de la efracci\u00f3n, construye sin duda una riqueza colectiva. Por unos d\u00edas, el MOR dio una tregua a la pareja \u201cmuseo-propietario\u201d e “individuos-sin-nada-que-perder\u201d, favoreciendo la posibilidad de que comenzaran a escucharse. Es una invitaci\u00f3n abierta en el tiempo que valdr\u00eda la pena repetir.<\/p>\n","protected":false},"excerpt":{"rendered":"
Entre el museo y la ciudad hay una relaci\u00f3n contractual (entendiendo la ciudad como infraestructura de entes privados y no privados que se relacionan). Marina Garc\u00e9s [[Marina Garc\u00e9s, Un mundo…<\/p>\n","protected":false},"author":1292,"featured_media":15274,"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":[6783],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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