{"id":3046,"date":"2026-02-21T16:16:29","date_gmt":"2026-02-21T16:16:29","guid":{"rendered":"https:\/\/montsebadia.net\/protocolos-de-obediencia-el-estado-de-los-datos-en-firma\/"},"modified":"2026-02-21T16:48:17","modified_gmt":"2026-02-21T16:48:17","slug":"protocolos-de-obediencia-el-estado-de-los-datos-en-firma","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/ca\/protocolos-de-obediencia-el-estado-de-los-datos-en-firma\/","title":{"rendered":"Protocols d’obedi\u00e8ncia. L’Estat de les dades en “Firma,” de Paula Art\u00e9s"},"content":{"rendered":"

\u00abDesvetllar les estructures de poder i control a trav\u00e9s de la fotografia\u00bb \u00e9s el leitmotiv<\/em> del treball de Paula Art\u00e9s<\/a>. Partint d’una formaci\u00f3 fotogr\u00e0fica, la seva pr\u00e0ctica ha despla\u00e7at progressivament el focus cap al proc\u00e9s de recerca i ha incorporat metodologies pr\u00f2pies de l’an\u00e0lisi cr\u00edtica i pol\u00edtica. Als sistemes que examina identifica mecanismes de poder i control que operen des de la dist\u00e0ncia, la invisibilitat o la intangibilitat.<\/p>\n

En diferents projectes ha abordat l’opacitat d’un cos de l’Estat, la Gu\u00e0rdia Civil, entesa com a sistema operatiu de control policial (Fuerzas y cuerpos,<\/em> 2016-2018); l’explotaci\u00f3 de l’entorn natural i les formes de regulaci\u00f3 exercides per grans oligopolis (Energ\u00eda sumergida<\/em>, 2018-2024; El caudal del r\u00edo<\/em>, 2021-2025); o l’espai VIP en un context esportiu com a lloc d’acords de gran impacte pol\u00edtic i econ\u00f2mic (Palco de honor<\/em>, 2025), per esmentar-ne nom\u00e9s alguns.<\/p>\n

Firma,<\/em> (2017-2019) no \u00e9s el seu treball m\u00e9s recent, encara que el pas del temps li ha anat afegint noves capes de significat. Iniciat com a projecte de fi de carrera, sota la tutoria de Tanit Plana i Marta Dah\u00f3, Firma,<\/em> marca un punt d’inflexi\u00f3 a la feina d’Art\u00e9s en atorgar un pes central a la investigaci\u00f3 com a part constitutiva de l’obra. Firma,<\/em> s’articula a partir d’una s\u00e8rie de preguntes directes i profundament pol\u00edtiques: qu\u00e8 arriba a saber l’Estat sobre nosaltres?, quanta informaci\u00f3 personal gestiona? Des d’on exerceix el control? Quin \u00fas fa d’aquestes dades?, que serveixen de detonants per aguditzar la nostra posici\u00f3 com a ciutadania cr\u00edtica.<\/p>\n

Firma, <\/em>se centra en espais oficials que recullen i gestionen les nostres dades \u2013centres m\u00e8dics, registres civils, tanatoris, biblioteques, oficines de correus\u2013, que l’artista fotografia mitjan\u00e7ant una c\u00e0mera de plaques i un proc\u00e9s anal\u00f2gic. Les imatges mostren llocs an\u00f2nims, protot\u00edpics i perfectament intercanviables, sense rastre de pres\u00e8ncia humana. Els enquadraments, curosament elegits, remeten a punts morts: espais sense sortida, passadissos sense punts de fugida, travessats per una atmosfera kafkiana. S\u00f3n imatges que evoquen els aspectes burocr\u00e0tics de les nostres vides, ja indistingibles dels vitals.<\/p>\n

De manera paral\u00b7lela, Art\u00e9s recopila una gran quantitat de documents procedents d’aquests mateixos espais, formularis en qu\u00e8 se’ns sol\u00b7licita informaci\u00f3 personal i que, de manera reiterada, culminen amb el mateix verb en imperatiu: \u201cfirma\u201d. De vegades acompanyat d’una coma que pret\u00e9n suavitzar l’ordre, d’altres seguit de dos punts, per\u00f2 sempre enunciat com a mandat. Un gest aparentment banal que condensa la cessi\u00f3 de drets, dades i responsabilitats en un sol acte.<\/p>\n

Fotografies i documents configuren aix\u00ed un retrat de l’estructura administrativa de l’Estat com a pan\u00f2ptic contemporani. El disseny carcerari de Bentham (una torre central des de la qual es vigila els reclusos sense que aquests s\u00e0piguen si estan sent observats) i la seva reformulaci\u00f3 per Michel Foucault, com a tecnologia de poder extensible a tota la societat, adquireixen un nou pes en el context de la digitalitzaci\u00f3 accelerada, especialment a partir del 2020 amb la pand\u00e8mia.<\/p>\n

El llibre d’artista(1) que forma part del projecte inclou una conversa reveladora entre la Paula Art\u00e9s i la Gemma Gald\u00f3n Clavell, doctora en pol\u00edtiques de seguretat i tecnologia i analista de pol\u00edtiques p\u00fabliques. S’hi recorda com l’Estat modern es funda sobre la gesti\u00f3 de dades com a forma d’organitzaci\u00f3 i control, i com la burocr\u00e0cia t\u00e9 un paper clau en la constituci\u00f3 hist\u00f2rica.<\/p>\n

Amb la digitalitzaci\u00f3, aquesta capacitat de control s’incrementa exponencialment. Les dades que aportem volunt\u00e0riament es creuen amb les que es recullen de forma involunt\u00e0ria, generades per la nostra activitat quotidiana, des de les compres que realitzem fins als itineraris que seguim, els serveis que utilitzem o les plataformes que consultem. Estem m\u00e9s controlats, per\u00f2 en som menys conscients i, paradoxalment, tenim menys capacitat de control sobre les nostres pr\u00f2pies dades.<\/p>\n

El tecnofeudalisme (2)\u00a0del qual parla Yanis Varoufakis deixa de ser una abstracci\u00f3 te\u00f2rica per convertir-se en una realitat palpable. Les infraestructures digitals de dades no tenen com a finalitat principal facilitar-nos la vida ni ampliar els nostres drets, sin\u00f3 maximitzar la rendibilitat de les grans corporacions tecnol\u00f2giques globals.<\/p>\n

Els espais que fotografia Paula Art\u00e9s continuen existint, encara que les seves funcions s’hagin transformat radicalment. Ja no cal despla\u00e7ar-se f\u00edsicament per fer un tr\u00e0mit: nom\u00e9s cal un o diversos clics. Les dades pugen llavors al que anomenem \u201cel n\u00favol\u201d, un terme po\u00e8tic i aparentment innocu que oculta la proliferaci\u00f3 de centres de dades f\u00edsiques, altament consumidors de recursos, especialment aigua i electricitat, amb un impacte ecol\u00f2gic i geopol\u00edtic cada cop m\u00e9s evident.<\/p>\n

La desaparici\u00f3 de l’espai f\u00edsic no implica la desaparici\u00f3 del control, sin\u00f3 la seva intensificaci\u00f3. El poder ja no necessita arquitectura monumental ni pres\u00e8ncia visible, opera de manera distribu\u00efda, opaca i automatitzada. La burocr\u00e0cia, lluny de diluir-se, esdev\u00e9 m\u00e9s eficient, m\u00e9s r\u00e0pida i m\u00e9s dif\u00edcil de q\u00fcestionar. El gest de signar, ara convertit a acceptar, marcar una casella o lliscar un dit, es produeix amb m\u00e9s freq\u00fc\u00e8ncia i amb menys consci\u00e8ncia de les seves conseq\u00fc\u00e8ncies.
\nFirma,<\/em> ens situa davant d’una paradoxa central de les democr\u00e0cies contempor\u00e0nies: com m\u00e9s s’agilitzen els sistemes administratius, menys marge queda per al dissens. El consentiment es torna una formalitat i la responsabilitat es despla\u00e7a cap a l’individu mentre les infraestructures de poder romanen fora del nostre camp de visi\u00f3. La invisibilitat esdev\u00e9 aix\u00ed una estrat\u00e8gia pol\u00edtica fonamental. All\u00f2 que no es veu no es q\u00fcestiona, i all\u00f2 que no es q\u00fcestiona es normalitza.<\/p>\n

En aquest sentit, el projecte de Paula Art\u00e9s tra\u00e7a una cartografia cr\u00edtica del present, en qu\u00e8 el control no s’imposa per la for\u00e7a, sin\u00f3 que es gestiona mitjan\u00e7ant protocols, interf\u00edcies i llenguatges administratius que hem apr\u00e8s a acceptar com a inevitables.<\/p>\n

Comprendre aquests mecanismes, fer-los visibles i anomenar-los \u00e9s un gest profundament pol\u00edtic. No garanteix l’emancipaci\u00f3, per\u00f2 constitueix una condici\u00f3 indispensable per imaginar-la. Perqu\u00e8 nom\u00e9s all\u00f2 que es compr\u00e8n pot ser q\u00fcestionat, i nom\u00e9s all\u00f2 que es q\u00fcestiona es pot, eventualment, transformar.<\/p>\n

(1) Art\u00e9s, Paula, Firma<\/em>. Cuaderno de la Kursala, n\u00ba 90. Universidad de C\u00e1diz, 2025.
\n(2) En Varoufakis, Yannis, Tecnofeudalismo, El sigiloso sucesor del capitalismo<\/em>. Deusto, 2024 (Traducci\u00f3n de Marta Valdivieso), l’autor identifica als propietaris del que anomena \u00abcapital del n\u00favol\u00bb com a\u00a0 nous senyors feudals, que ens converteix en serfs. La conseq\u00fc\u00e8ncia \u00e9s un augment de la desig\u00fcaltat.<\/h6>\n
\"\"
Paula Art\u00e9s, Firma,<\/figcaption><\/figure>\n

[Aquest text acompanya l’exposici\u00f3 Firma,<\/em> de Paula Art\u00e9s al Centre Cultural Melchor Zapata<\/a>, Benic\u00e1ssim. 19 Febrer – 26 Abril 2026]<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00abDesvetllar les estructures de poder i control a trav\u00e9s de la fotografia\u00bb \u00e9s el leitmotiv del treball de Paula Art\u00e9s. Partint d’una formaci\u00f3 fotogr\u00e0fica, la seva pr\u00e0ctica ha despla\u00e7at progressivament el focus cap al proc\u00e9s de recerca i ha incorporat metodologies pr\u00f2pies de l’an\u00e0lisi cr\u00edtica i pol\u00edtica. Als sistemes que examina identifica mecanismes de poder […]<\/p>\n","protected":false},"author":1,"featured_media":3043,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[27],"tags":[],"class_list":["post-3046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-textos-ca"],"yoast_head":"\nPaula Art\u00e9s Firma<\/title>\n<meta name=\"description\" content=\"Este texto acompa\u00f1a la exposici\u00f3n de Paula Art\u00e9s, Firma, en el Centre Cultural Melchor Zapata, Benic\u00e1ssim. 19 Febrero - 26 Abril 2026\" \/>\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\/protocolos-de-obediencia-el-estado-de-los-datos-en-firma\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paula Art\u00e9s Firma\" \/>\n<meta property=\"og:description\" content=\"Este texto acompa\u00f1a la exposici\u00f3n de Paula Art\u00e9s, Firma, en el Centre Cultural Melchor Zapata, Benic\u00e1ssim. 19 Febrero - 26 Abril 2026\" \/>\n<meta property=\"og:url\" content=\"https:\/\/montsebadia.net\/ca\/protocolos-de-obediencia-el-estado-de-los-datos-en-firma\/\" \/>\n<meta property=\"og:site_name\" content=\"Montse Badia\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/montse.badia.96\" \/>\n<meta property=\"article:published_time\" content=\"2026-02-21T16:16:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-21T16:48:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/montsebadia.net\/wp-content\/uploads\/2026\/02\/6984627d99585.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@montsebadia1\" \/>\n<meta name=\"twitter:site\" content=\"@montsebadia1\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minuts\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/montsebadia.net\/ca\/protocolos-de-obediencia-el-estado-de-los-datos-en-firma\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/montsebadia.net\/ca\/protocolos-de-obediencia-el-estado-de-los-datos-en-firma\/\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\/\/montsebadia.net\/en\/#\/schema\/person\/e6d1199fca140cb29c5fdf8d92b3edd5\"},\"headline\":\"Protocols d’obedi\u00e8ncia. 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