{"id":3074,"date":"2026-03-27T14:10:00","date_gmt":"2026-03-27T14:10:00","guid":{"rendered":"https:\/\/montsebadia.net\/?p=3074"},"modified":"2026-03-27T14:10:00","modified_gmt":"2026-03-27T14:10:00","slug":"precarietat-i-homogeneitzacio-contradiccions-del-present-curatorial","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/ca\/precarietat-i-homogeneitzacio-contradiccions-del-present-curatorial\/","title":{"rendered":"Precarietat i homogene\u00eftzaci\u00f3. Contradiccions del present curatorial"},"content":{"rendered":"<p>Recentment, la comiss\u00e0ria \u00c0ngels Miralda publicava a la revista <em>Frieze<\/em> (febrer 2026) l\u2019article <em>Who Killed the Independent Curator?<\/em>, un text que em remet als primers anys 2000 (no sense una certa sensaci\u00f3 de vertigen) quan, en el context del Programa Curatorial de la Fundaci\u00f3 De Appel d\u2019Amsterdam, la figura del curador independent internacional ocupava un lloc central i noms com Hans-Ulrich Obrist, Maria Lind o Hou Hanru eren referents habituals.<\/p>\n<p>Aquesta figura, hereva del llegat de Harald Szeemann i de projectes com <em>When Attitudes Become Form<\/em> (1969), posava l\u2019\u00e8mfasi no nom\u00e9s en els conceptes i processos art\u00edstics, sin\u00f3 sobretot en la complicitat amb els i les artistes i en la interlocuci\u00f3 cr\u00edtica amb la instituci\u00f3. Sense formar part de l\u2019organigrama institucional, el curador independent feia un paper de mediaci\u00f3 entre artistes, institucions i p\u00fablics, generant espais de tensi\u00f3 productiva.<\/p>\n<p>Avui l\u2019escenari \u00e9s molt diferent. Els professionals independents (artistes, comissaris\/\u00e0ries, curadors\/es o mediadors\/es) esdevenen petites empreses unipersonals que han d\u2019assumir simult\u00e0niament la gesti\u00f3, la comunicaci\u00f3, la difusi\u00f3 i la producci\u00f3, a m\u00e9s del treball conceptual i de recerca. Aquesta multiplicitat de rols respon menys a una elecci\u00f3 que a una precaritzaci\u00f3 estructural del sector.<\/p>\n<p>Alhora, l\u2019art contemporani competeix per l\u2019atenci\u00f3 en societats saturades d\u2019est\u00edmuls, on els impactes visuals de les xarxes socials i la ind\u00fastria de l\u2019entreteniment desplacen sovint la temporalitat lenta de la recerca i del pensament cr\u00edtic. Tot i que fins a quin punt pot ser tant o m\u00e9s pol\u00edtica l&#8217;actuaci\u00f3 de Bad Bunny a la SuperBowl que programacions completes de museus parlant de decolonitzaci\u00f3, \u00e9s ja un altre tema. Els recursos econ\u00f2mics existeixen, per\u00f2 es distribueixen de manera desigual: abunden per a grans ampliacions muse\u00edstiques o institucions emblem\u00e0tiques, mentre que arriben amb comptagotes al teixit cultural independent, sovint en forma de subvencions que generen incertesa pressupost\u00e0ria fins ben entrada la meitat de l\u2019any.<\/p>\n<p>En el seu article, Miralda assenyala tamb\u00e9 la consolidaci\u00f3 d\u2019un model en qu\u00e8 les direccions art\u00edstiques de les grans biennals recauen en responsables de grans institucions, afavorint la circulaci\u00f3 reiterada d&#8217;artistes i discursos i produint una homogene\u00eftzaci\u00f3 que limita la pluralitat.<\/p>\n<p>Tot i aix\u00f2, les institucions consolidades comparteixen amb les iniciatives independents la voluntat de pensar el present, preservar el patrimoni i imaginar futurs m\u00e9s justos, encara que aquesta aspiraci\u00f3 es vegi sovint tensionada per les seves pr\u00f2pies estructures. La soluci\u00f3 no passaria tant per oposar-se a la instituci\u00f3, sin\u00f3 per activar nombroses pr\u00e0ctiques instituents entre art i pol\u00edtica que permetin implementar m\u00faltiples formes institucionals que puguin ser complement\u00e0ries i realment transformadores.<\/p>\n<p>&nbsp;<\/p>\n<p>[Text publicat a la revista Bonart n\u00famero 203, mar\u00e7 2026]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Recentment, la comiss\u00e0ria \u00c0ngels Miralda publicava a la revista Frieze (febrer 2026) l\u2019article Who Killed the Independent Curator?, un text que em remet als primers anys 2000 (no sense una certa sensaci\u00f3 de vertigen) quan, en el context del Programa Curatorial de la Fundaci\u00f3 De Appel d\u2019Amsterdam, la figura del curador independent internacional ocupava un [&hellip;]<\/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-3074","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>Precarietat i homogene\u00eftzaci\u00f3. 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