{"id":1090,"date":"2010-09-20T15:49:00","date_gmt":"2010-09-20T15:49:00","guid":{"rendered":"https:\/\/montsebadia.net\/new\/al-filo-de-la-noticia\/"},"modified":"2025-02-24T11:32:49","modified_gmt":"2025-02-24T11:32:49","slug":"al-filo-de-la-noticia","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/ca\/al-filo-de-la-noticia\/","title":{"rendered":"Al caient de la noticia"},"content":{"rendered":"<p><a href=\"https:\/\/a-desk.org\/ca\/magazine\/al-filo-de-la-noticia\/\">Vincle a l&#8217;article a A*DESK<\/a><\/p>\n<p>Fa molt temps que els clix\u00e9s lligats al fotoperiodisme es van esfondrar. Encara que aquesta crisi no \u00e9s nova, s\u00ed que ho \u00e9s la reflexi\u00f3 que aporta l&#8217;exposici\u00f3 que ara ens ocupa.<\/p>\n<p>Tradicionalment la missi\u00f3 del fotoperiodisme era acostar-nos a la realitat, sovint a una realitat llunyana i en conflicte. El fotoperiodista tenia la tasca d&#8217;informar d&#8217;aquesta realitat, d&#8217;aquesta &#8220;veritat&#8221;, convertir-se en testimoniatge i oferir &#8220;la imatge&#8221; -\u00fanica i representativa- del fet en q\u00fcesti\u00f3.<\/p>\n<p>La crisi del fotoperiodisme no \u00e9s nova, almenys des de la m\u00edtica imatge del milici\u00e0 de Robert *Capa que va resultar no ser veritat. Per\u00f2 ara ja no s&#8217;acontenta amb una \u00fanica imatge sin\u00f3 de proposar altres objectes i contar altres\/m\u00faltiples hist\u00f2ries. L\u00f2gic si pensem en la multiplicaci\u00f3 dels agents i canals de comunicaci\u00f3.<\/p>\n<p>La Virreina. Centre de la imatge presenta una altra bona exposici\u00f3, comissariada per Carles Guerra i Thomas *Keenan, que fa un bon inventari i an\u00e0lisi de totes les facetes que afecten la transformaci\u00f3 del fotoperiodisme. S&#8217;inicia amb un treball que nua tots els mecanismes de construcci\u00f3 de la not\u00edcia, amb el v\u00eddeo de Phil *Collins, &#8220;*How *to *make a *refugee&#8221; (1999), que registra el proc\u00e9s de fotografiar a un jove refugiat kosovar, al qual se&#8217;l convida a llevar-se la samarreta, posar-se una gorra, posar amb altres refugiats i definir un decorat per a representar el que en la imaginaci\u00f3 del fot\u00f2graf \u00e9s la perfecta imatge d&#8217;un refugiat i la seva fam\u00edlia. El c\u00ednic de l&#8217;assumpte \u00e9s que les converses mantingudes durant el *making *off de la fotografia mostren una preocupaci\u00f3 exagerada per q\u00fcestions de &#8220;estilisme&#8221; i gens d&#8217;inter\u00e8s per con\u00e8ixer les circumst\u00e0ncies personals o pol\u00edtiques del protagonista de la imatge.<\/p>\n<p>Despr\u00e9s d&#8217;aquest inici, que no pot posar m\u00e9s en crisi la labor del fotoperiodista, l&#8217;exposici\u00f3 va presentant un inventari de tots els aspectes problem\u00e0tics o noves situacions que l&#8217;afecten: el descobriment d&#8217;una altra realitat amb la qual el fotoperiodista no comptava (a trav\u00e9s de les instant\u00e0nies que Paul *Fusco va prendre des del tren que transportava el f\u00e8retre de Robert Kennedy, que mostrava a nombrosos ciutadans que van voler acostar-se al seu pas per a donar l&#8217;\u00faltim tribut al seu president i que es van convertir en un retrat de l&#8217;Am\u00e8rica del moment); la banalitzaci\u00f3 de les imatges de l&#8217;horror (en forma de videoclips a c\u00e0rrec dels mateixos c\u00e0meres de televisi\u00f3); la utilitzaci\u00f3 de l&#8217;alta tecnologia (els sat\u00e8l\u00b7lits) o d&#8217;una tecnologia molt m\u00e9s generalitzada des de la qual qualsevol persona pot enviar una not\u00edcia al m\u00f3n sencer (el cas de les manifestacions a l&#8217;Iran gravades des de tel\u00e8fons m\u00f2bils i emeses des d&#8217;Internet); l&#8217;arxiu (com l&#8217;\u00faltima possibilitat per a construir la identitat i crear mem\u00f2ria, com ocorre amb els arxius de fotografies del Kurdistan recopilades per Susan *Meiselas o dels edificis destru\u00efts a Gaza de *Eyal *Weisman). Despr\u00e9s de tot aix\u00f2 nom\u00e9s ens pot quedar l&#8217;ambig\u00fcitat i fins i tot el cinisme de la mirada de *Renzo *Martens en &#8220;*Episode III &#8211; *Enjoy *Poverty&#8221; per a fer un recorregut pel Congo i mostrar moltes de les contradiccions del nostre present que en cap moment poden deixar-nos indiferents: ONGs que han d&#8217;abandonar ubicacions no perqu\u00e8 hagin concl\u00f2s la seva labor sin\u00f3 a causa del trasllat d&#8217;unes tropes de l&#8217;ONU que protegeixen les empreses que extreuen or de determinades \u00e0rees; logos de la UNICEF en totes i cadascuna de les bosses que utilitzen els refugiats en els camps i, la m\u00e9s important, que la pobresa \u00e9s un recurs i genera riquesa per\u00f2, desgraciadament, no per als que posseeixen aquest recurs, \u00e9s a dir, per als pobres.<\/p>\n<p>Seguint amb les bondats de &#8220;antifotoperiodisme&#8221;, cal esmentar la cuidada articulaci\u00f3 de l&#8217;exposici\u00f3, tant en relaci\u00f3 amb l&#8217;espai com entre els diferents treballs. \u00c9s el cas de la relaci\u00f3 que s&#8217;estableix entre les presentacions amb diapositives de les imatges de &#8220;*RFK Funeral *Train&#8221; (1968) Paul *Fusco i el &#8220;*Prayer *for *the *Americans&#8221; (1999-2004) d&#8217;Alan *Sekula, una passa a ser la continuaci\u00f3 de l&#8217;altra en el retrat de l&#8217;Am\u00e8rica no oficial, per\u00f2 s\u00ed profunda; la visi\u00f3 des de la tercera sala de les pantalles vermelles de Fita *Steyerl, situades m\u00e9s al fons, que constitueixen un comentari subtil i gens il\u00b7lustratiu a l&#8217;exc\u00e9s d&#8217;imatges de conflictes i desastres o, finalment, la incursi\u00f3 dels arxius de la Palestina destru\u00efda de *Eyal *Weisman en l&#8217;espai en el qual es mostren els arxius d&#8217;imatges del Kurdistan de Susan *Meiselas, evidenciant les possibilitats de l&#8217;arxiu d&#8217;imatges per a preservar identitats en perill. Precisament aquesta \u00e9s la zona m\u00e9s q\u00fcestionable de l&#8217;exposici\u00f3 perqu\u00e8 potser obre massa el tema principal de &#8220;antifotoperiodisme&#8221; i sobretot considerant que *Meiselas ser\u00e0 protagonista d&#8217;una exposici\u00f3 en el mateix centre. Per\u00f2 fins i tot la pres\u00e8ncia de treballs menys interessants, com el de les imatges de sat\u00e8l\u00b7lits de Laura *Kurgan o les no-imatges de morts d&#8217;Adam *Broomberg i Oliver *Chanarin, aporten elements o arguments rellevants al tema de discussi\u00f3 principal.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Vincle a l&#8217;article a A*DESK Fa molt temps que els clix\u00e9s lligats al fotoperiodisme es van esfondrar. Encara que aquesta crisi no \u00e9s nova, s\u00ed que ho \u00e9s la reflexi\u00f3 que aporta l&#8217;exposici\u00f3 que ara ens ocupa. Tradicionalment la missi\u00f3 del fotoperiodisme era acostar-nos a la realitat, sovint a una realitat llunyana i en conflicte. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[27],"tags":[],"class_list":["post-1090","post","type-post","status-publish","format-standard","hentry","category-textos-ca"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Al caient de la noticia - Montse Badia<\/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:\/\/montsebadia.net\/ca\/al-filo-de-la-noticia\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Al caient de la noticia - Montse Badia\" \/>\n<meta property=\"og:description\" content=\"Vincle a l&#8217;article a A*DESK Fa molt temps que els clix\u00e9s lligats al fotoperiodisme es van esfondrar. 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