{"id":1110,"date":"2010-03-15T12:28:16","date_gmt":"2010-03-15T12:28:16","guid":{"rendered":"https:\/\/montsebadia.net\/new\/huyendo-del-aburrimiento-a-proposito-de-pure-beauty-de-john-baldessari-en-el-macba\/"},"modified":"2025-02-25T19:32:59","modified_gmt":"2025-02-25T19:32:59","slug":"huyendo-del-aburrimiento-a-proposito-de-pure-beauty-de-john-baldessari-en-el-macba","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/ca\/huyendo-del-aburrimiento-a-proposito-de-pure-beauty-de-john-baldessari-en-el-macba\/","title":{"rendered":"Fugint de l’avorriment. A prop\u00f2sit de “Pure Beauty” de John Baldessari al MACBA"},"content":{"rendered":"

Vincle a l’article a A*DESK<\/a><\/p>\n

Hi ha artistes que obren vies de pensament i de discussi\u00f3. En el cas de Baldessari a m\u00e9s aquest paper inspirador va acompanyat d’una actitud l\u00fadicament transgressora que es fa patent en totes i (gaireb\u00e9) cadascuna de les obres de la retrospectiva que el MACBA li dedica aquests dies.<\/p>\n

El passat estiu, des d’un dels Palazzi de Ven\u00e8cia treia el cap una pancarta en la qual es podia llegir \u201cI will not make any more boring art\u201d. Tota una declaraci\u00f3 de principis, escrita en 1971 per un *professor de *CalArts anomenat John *Baldessari. Enmig de la celebraci\u00f3 de la 53 edici\u00f3 de la Biennal de Ven\u00e8cia i a punt de recollir un lle\u00f3 d’or per la seva traject\u00f2ria, la frase mantenia tot el seu sentit. Encara que els contextos anessin distints, ja que \u201cI *will *not *make *any habiti *boring *art\u201d naixia com a fruit de la labor docent de *Baldessari i del seu convenciment que no \u00e9s possible ensenyar art, unit a la seva voluntat de criticar els fonamentalismes d’uns certs conceptuals, va donar lloc a un v\u00eddeo, en el qual l’artista s’imposa, gaireb\u00e9 com un c\u00e0stig escolar, la tasca d’escriure una vegada i una altra aquesta declaraci\u00f3 de principis que, ni tan sols en el v\u00eddeo, aconsegueix complir. Malgrat aix\u00f2, no podem deixar de posar-nos del costat de l’artista que es va atrevir a intentar donar-li una mica m\u00e9s de projecci\u00f3 a les \u201c*Sentences *on Conceptual *Art” de Sol *Lewitt\u201d simplement posant-los m\u00fasica i alliberant-les del seu tancament en els cat\u00e0legs i llibres d’art.<\/p>\n

\u201c*Pure *Beauty\u201d, la retrospectiva que li dedica el MACBA, presa com a t\u00edtol una de les seves obres que consisteix en un llen\u00e7 en el qual apareixen aquestes paraules. No es pot ser m\u00e9s conceptual… ni menys… Les obres que componen l’exposici\u00f3 reflecteixen molt b\u00e9 aquesta actitud del professor que no creu que l’art es pugui ensenyar, sin\u00f3 que simplement succeeix, ve del joc i va de trencar amb el preestablert. I amb aquestes premisses no \u00e9s estrany que alguns dels seus alumnes hagin desenvolupat traject\u00f2ries m\u00e9s que destacades: *Matt *Mullican, Richard Prince, Rita *McBride o Jack *Goldstein, entre altres. La llista d’artistes que han rebut la influ\u00e8ncia de *Baldessari seria molt m\u00e9s llarga.<\/p>\n

El treball de *Baldessari descol\u00b7loca. Sempre hi ha algun element que irrita (el motiu, el t\u00edtol, la formalitzaci\u00f3…). Ja sigui pel sentit de l’humor o el reconeixement d’imatges que ens s\u00f3n familiars, els seus treballs resulten pr\u00f2xims. No obstant aix\u00f2, sempre hi ha algun element que no acaba d’encaixar, una informaci\u00f3 que no apareix, una juxtaposici\u00f3 estranya… El propi *Baldessari explicava les seves intencions en una entrevista: \u201cM’agrada oferir la quantitat justa d’informaci\u00f3 per a no ofegar l’obra. A vegades suprimeixo massa informaci\u00f3 i l’obra resulta fallida. Quan l’obra \u00e9s encertada \u00e9s perqu\u00e8 he deixat suficient informaci\u00f3 per a activar la ment de l’espectador, per\u00f2 no tanta perqu\u00e8 la imatge sigui completa\u201d.<\/p>\n

El recorregut de \u201c*Pure *Beauty\u201d no pot comen\u00e7ar millor, amb una s\u00e8rie de pintures (salvades de la crema que l’artista va realitzar, va anunciar i va documentar en 1970 per a replantejar el seu treball), una selecci\u00f3 de \u201c*Text *Paintings\u201d en els quals la paraula substitueix a la imatge i les \u201c*Commissioned *Paintings\u201d en les quals riu de la premissa que \u201cl’art conceptual es limita a assenyalar\u201d, per a encarregar quadres a pintors amateur en els quals literalment un dit assenyala un motiu anod\u00ed. Els v\u00eddeos \u201cI *will *not *make *any habiti *boring *art\u201d, \u201c*Baldessari *sings Sol *Lewitt\u201d i \u201cI *am *making *art\u201d (tres aut\u00e8ntics *hits en *Youtube que a m\u00e9s compten amb nombroses revisions, respostes i remakes) mostren la seva faceta de docent que estimula als alumnes a veure les coses des d’una altra perspectiva i, el m\u00e9s important, a descobrir el seu propi punt de vista. Un altre bloc de treballs se centra en la reflexi\u00f3 sobre la identitat de l’artista, com les fotografies en les quals saluda a cadascun dels vaixells que entren i surten del port; imita amb el fum d’un cigarret un n\u00favol real; intenta alinear tres pilotes de color taronja en l’aire o pinta un espai amb diferents colors de manera successiva. En un m\u00f3n en el qual tot ha de tenir una utilitat i una finalitat, *Baldessari mostra que encara \u00e9s possible fer coses gratu\u00eftes, desconcertar i que el treball de l’artista consisteix precisament a alertar-nos mitjan\u00e7ant l’absurd a vegades, que potser tot all\u00f2 que sembla tan assenyat i regulat potser no ho \u00e9s tant.<\/p>\n

La segona part de l’exposici\u00f3 se centra en el treball a partir de la imatge, de la col\u00b7lecci\u00f3, juxtaposici\u00f3, muntatge i relaci\u00f3 amb la paraula o amb els colors. A partir d’imatges apropiades, l’artista es proposa alterar la jerarquia de la visi\u00f3, introduir elements irritants per a provocar, per a estimular l’atenci\u00f3, perqu\u00e8 siguem capaces de llegir les imatges i entendre com funcionen en la nostra cultura. \u00c9s precisament en aquesta part del recorregut en el qual es guanya en espai i es perd en intensitat, el discurs es torna repetitiu i el temps de visita de les sales es redueix notablement.<\/p>\n

No deixa de ser curi\u00f3s que treballs realitzats fa m\u00e9s de trenta anys conservin m\u00e9s actualitat i frescor que alguns dels realitzats fa nom\u00e9s una d\u00e8cada. Encara que aix\u00f2 no quitaci\u00f3 que *Baldessari *continue sent un referent indiscutible.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Vincle a l’article a A*DESK Hi ha artistes que obren vies de pensament i de discussi\u00f3. En el cas de Baldessari a m\u00e9s aquest paper inspirador va acompanyat d’una actitud l\u00fadicament transgressora que es fa patent en totes i (gaireb\u00e9) cadascuna de les obres de la retrospectiva que el MACBA li dedica aquests dies. El […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[27],"tags":[],"class_list":["post-1110","post","type-post","status-publish","format-standard","hentry","category-textos-ca"],"yoast_head":"\nFugint de l'avorriment. 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