{"id":1116,"date":"2010-01-19T12:05:06","date_gmt":"2010-01-19T12:05:06","guid":{"rendered":"https:\/\/montsebadia.net\/new\/conceptual-revisited-a-proposito-de-mario-torres-garcia\/"},"modified":"2025-02-26T11:28:44","modified_gmt":"2025-02-26T11:28:44","slug":"conceptual-revisited-a-proposito-de-mario-torres-garcia","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/ca\/conceptual-revisited-a-proposito-de-mario-torres-garcia\/","title":{"rendered":"Conceptual Revisited. A prop\u00f2sit de Mario Torres Garc\u00eda"},"content":{"rendered":"

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

D’una manera l\u00fadica i nost\u00e0lgica al mateix temps, el treball de Mario Garc\u00eda Torres acostuma a revisar l’art conceptual. En la seva primera mostra individual a Barcelona investiga sobre els secrets que van acompanyar un treball de Robert *Barry.<\/p>\n

Com altres artistes de la seva generaci\u00f3, Mario Garc\u00eda Torres (M\u00e8xic, 1975) \u00e9s un hereu directe dels discursos dels artistes conceptuals dels anys 60 i 70. No obstant aix\u00f2, l’aspecte m\u00e9s destacat de l’aproximaci\u00f3 de Garc\u00eda Torres \u00e9s un inter\u00e8s gaireb\u00e9 detectivesc o historiogr\u00e0fic a explorar obres, propostes o moments poc visibles de l’art conceptual per a, des d’un punt de vista personal, descobrir noves lectures i significats.<\/p>\n

Amb el seu treball, Garc\u00eda Torres evidencia la des\u00eddia amb qu\u00e8 s’escriu la hist\u00f2ria de l’art a for\u00e7a de republicar les mateixes dades, descripcions i interpretacions en estudis successius, sense sotmetre’ls a revisions cr\u00edtiques. D’aquesta manera, un treball basat en instruccions pot passar a la hist\u00f2ria com un simple enunciat sense que ning\u00fa mai m\u00e9s es prengui la mol\u00e8stia d’indagar en la proposta, els seus processos, els seus participants i, per qu\u00e8 no, en els seus resultats. D’aquesta manera, treballs que en el seu moment van intentar integrar art i vida, posar l’\u00e8mfasi en el *procesual per sobre de l’objecte acabat, que es resistien a mostrar-se (i registrar-se, presentar-se i conservar-se) i que es proposaven provar els l\u00edmits de la instituci\u00f3, van ser incorporats a la hist\u00f2ria com a simples enunciats, com a registres o com a documents que no es podien transmetre m\u00e9s que “desactivats”.<\/p>\n

A partir d’aquestes preocupacions, Mario Garc\u00eda Torres pret\u00e9n activar alguna d’aquestes propostes, per a portar en primer pla el potencial de les hist\u00f2ries o, en altres paraules, acostar-nos a moments importants per\u00f2 de poca visibilitat. Amb una factura molt conceptual l’exposici\u00f3 de Garc\u00eda Torres en el *Espai 13 s’articula a partir de quatre treballs que, des de diferents perspectives, porten a col\u00b7laci\u00f3 nombroses q\u00fcestions que ens acosten als referents conceptuals des de noves perspectives. Alguna cosa aix\u00ed com “tot el que sempre va voler saber sobre l’art conceptual per\u00f2 mai es va atrevir a preguntar”. En aquest sentit, la pe\u00e7a m\u00e9s destacada de l’exposici\u00f3 \u00e9s “El que passa a Halifax, es queda a Halifax (en 36 diapositives)”, en la qual l’artista va fer un treball de recerca sobre una proposta de Robert *Barry de l’any 1969 que consistia en el fet que un grup d’estudiants d’art a Halifax (el Canad\u00e0) pens\u00e9s una idea compartida i la mantingu\u00e9s en secret, fins i tot per al propi *Barry. L’inter\u00e8s de Garc\u00eda Torres es va centrar no tant a parlar amb *Barry en primera inst\u00e0ncia, sin\u00f3 amb els estudiants participants en el projecte. Per a aix\u00f2, va haver de localitzar a cadascun d’ells i interrogar-los sobre un fet que havia tingut lloc en les seves vides feia m\u00e9s de trenta anys, amb la finalitat d’analitzar el que va suposar per a ells participar en aquesta proposta i, al final del proc\u00e9s, contactar amb *Barry i esbrinar el que la pe\u00e7a va significar per a ell, encara que aquest \u00e9s un aspecte que per a Garc\u00eda Torres \u00e9s secundari. El resultat formal \u00e9s una projecci\u00f3 de trenta-sis diapositives en les quals les imatges de les localitzacions associades al projecte es combinen amb subt\u00edtols, donant lloc a un assaig que dota de nous significats la proposta de *Barry.<\/p>\n

La mem\u00f2ria i les seves ambig\u00fcitats, la qual cosa es mostra i el que s’oculta, la qual cosa roman i el que es perd, la desmaterialitzaci\u00f3 i la seva *historiaci\u00f3n s\u00f3n tractats en “Transpar\u00e8ncies del no-acte”, sobre Oscar *Neuestern, un artista poc conegut el treball del qual es basava en el concepte d’abs\u00e8ncia: interessat en el visual, no permetia que els seus treballs es registressin. Poc importa si *Neuestern va existir realment, el rellevant \u00e9s la reflexi\u00f3 sobre la radicalitat, l’autenticitat, com s’escriu la hist\u00f2ria i com transcendeix. Les nocions de secret, rumor, transmissi\u00f3 oral, l’experi\u00e8ncia i el seu registre, s\u00f3n aspectes rellevants per a revisar el conceptual i s\u00f3n tamb\u00e9 aspectes explorats per artistes actuals. No podem deixar de relacionar les instruccions amb els treballs de Peter *Liversidge o Daura Garc\u00eda, la idea de secret, de nou amb *Dora Garc\u00eda o la transmissi\u00f3 oral dels treballs i la falta de registres amb seny *Seghal. *Liversidge, Garc\u00eda, *Seghal i Garc\u00eda Torres formen part d’una genealogia d’artistes hereus del conceptual, conscients d’aix\u00f2 i cr\u00edtics alhora.<\/p>\n

La falta d’equilibri que a vegades existeix entre la import\u00e0ncia d’un treball i la seva visibilitat, l’experi\u00e8ncia de les coses i la manera en qu\u00e8 es comuniquen i perviuen en la hist\u00f2ria, el potencial de les hist\u00f2ries, les hist\u00f2ries que romanen en segon pla i la transcend\u00e8ncia del qual es descobreix molt m\u00e9s tard, les versions, adaptacions i *reenactments, els projectes col\u00b7lectius o participatius s\u00f3n nom\u00e9s alguns dels temes que s’exploren en aquesta exposici\u00f3 que constitueix una intel\u00b7ligent revisi\u00f3 d’alguns aspectes de l’art conceptual; per aix\u00f2 mateix, un intel\u00b7ligent treball de Mario Garc\u00eda Torres i, per extensi\u00f3, una intel\u00b7ligent elecci\u00f3 de Tres, comissari del cicle “*Silenci *Expl\u00edcit”.<\/p>\n

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

Vincle a l’article a A*DESK D’una manera l\u00fadica i nost\u00e0lgica al mateix temps, el treball de Mario Garc\u00eda Torres acostuma a revisar l’art conceptual. En la seva primera mostra individual a Barcelona investiga sobre els secrets que van acompanyar un treball de Robert *Barry. Com altres artistes de la seva generaci\u00f3, Mario Garc\u00eda Torres (M\u00e8xic, […]<\/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":[1],"tags":[],"class_list":["post-1116","post","type-post","status-publish","format-standard","hentry","category-sin-categorizar"],"yoast_head":"\nConceptual Revisited. 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