http:\/\/a-desk.org\/highlights\/La-Biennal-de-Venecia-en-12-apunts.html<\/a><\/p>\nAll the World\u2019s Futures \u00e9s una biennal mastod\u00f2ntica i bigarrada, que no deixa un moment de respir i que, per descomptat, no deixa indiferent. Una forma de tractar aquesta situaci\u00f3 d\u2019acumulaci\u00f3 i amb l\u2019assumpci\u00f3 que no \u00e9s possible veure-ho tot, \u00e9s deixar-se portar i definir un recorregut en el qual intentar descobrir m\u00e9s que recon\u00e8ixer. Aquesta \u00e9s la voluntat d\u2019aquest mini-diccionari que, sobra dir-ho, no pret\u00e9n ser enciclop\u00e8dic.<\/p>\n
ANGELUS NOVUS. O el principi de tot. El quadre de Paul Klee del mateix t\u00edtol, l\u2019\u00e0ngel de la hist\u00f2ria que mira al passat, a la cadena d\u2019esdeveniments que d\u00f3na lloc a la hist\u00f2ria, per\u00f2 que es veu impulsat pel futur, per una tempesta que Walter Benjamin va anomenar progr\u00e9s (a Tesi de filosofia de la hist\u00f2ria) \u00e9s el punt de partida d\u2019aquesta biennal, comissariada per Okwui Enwezor. Aquesta necessitat de mirar la hist\u00f2ria per intentar entendre el present i el futur (un futur bastant descoratjador, per cert) est\u00e0 en l\u2019ess\u00e8ncia d\u2019aquesta 56a edici\u00f3 de la biennal.<\/p>\n
ARBRES… Cremats, despla\u00e7ats, partits, abatuts… s\u00f3n una constant tant en alguns pavellons nacionals com en l\u2019exposici\u00f3 central. Del land art de Robert Smithson als arbres “m\u00f2bils” de C\u00e9leste Boursier-Mougenot al Pavell\u00f3 Franc\u00e8s, entre molts d\u2019altres, hi ha un nombre important de propostes que recuperen i actualitzen les preocupacions del land art o l\u2019art povera .<\/p>\n
ARENA. \u00c9s una de les grans apostes d\u2019Enwezor, per subratllar la incid\u00e8ncia tant espacial com temporal de l\u2019exposici\u00f3. Performances, cinema, teatre, discussions, lectures, presentacions i confer\u00e8ncies s\u00f3n plantejats com a elements d\u2019activaci\u00f3 de l\u2019exposici\u00f3 en el seu desplegament temporal.<\/p>\n
ABS\u00c8NCIES. Una breu nota afegida a la guia de la biennal d\u00f3na fe d\u2019un parell d\u2019abs\u00e8ncies a causa de conflictes pol\u00edtic-econ\u00f2mics: el 16 i el 23 d\u2019abril de 2015, la Rep\u00fablica Federal de Nig\u00e8ria i la Rep\u00fablica de Kenya, respectivament, renuncien a la seva participaci\u00f3 degut a la situaci\u00f3 d\u2019excepci\u00f3 creada per Boko Haram, en el cas del primer, i a la quasi compra del pavell\u00f3 per part d\u2019una galeria d\u2019art xinesa amb la intenci\u00f3 d\u2019exposar-hi \u00fanicament artistes d\u2019aquesta nacionalitat, en el segon cas<\/p>\n
CONTUND\u00c8NCIA. L\u2019art com a tractament de xoc que no pret\u00e9n ser amable sin\u00f3 agitar consci\u00e8ncies, sense rec\u00f3rrer necess\u00e0riament a la viol\u00e8ncia ni al crit, ja que de vegades un murmuri pot tenir el mateix efecte. En aquest sentit, la intervenci\u00f3 en els Giardini de Raqs Media Collective o de Raimond Chaves\/Gilda Mantilla al Pavell\u00f3 del Per\u00fa, per exemple, poden resultar tan potents com els ganivets clavats a terra d\u2019Abdel Abdeseemed.<\/p>\n
DAS KAPITAL. O el quid de la q\u00fcesti\u00f3. Welcome to Marx Reloaded, llegit, interpretat, analitzat, deconstru\u00eft o qu\u00e8 es fa refer\u00e8ncia converteix en un dels eixos principals de tota la biennal. En definitiva, economia i treball com a claus per entendre el present i, potser, el futur.<\/p>\n
FUTUR HOSTIL. La 56a edici\u00f3 de la Biennal de Ven\u00e8cia evidenciava (especialment durant els dies de visites pr\u00e8vies de professionals) les contradiccions entre el cru discurs de l\u2019esdeveniment i el glamour de la jet-set de l\u2019art contemporani.<\/p>\n
No deixa de ser curi\u00f3s tamb\u00e9 com un gran nombre de propostes art\u00edstiques giren al voltant de la reivindicaci\u00f3 d\u2019uns drets fonamentals, aconseguits a principis de segle o ja als anys 70, i que es troben de nou en perill.<\/p>\n
EL REAL. La realitat s\u2019imposa i els conflictes socials i pol\u00edtics no apareixen nom\u00e9s representats. Aix\u00ed, un grup d\u2019ucra\u00efnesos ocupa durant unes hores el pavell\u00f3 de R\u00fassia, mentre la Fundaci\u00f3 Guggenheim \u00e9s bloquejada per membres de sindicats en protesta per les condicions laborals al Guggenheim d\u2019Abu Dhabi. I les autoritats decideixen tancar la mesquita creada per Christoph B\u00fcchel al Pavell\u00f3 Island\u00e8s (a l\u2019Esgl\u00e9sia Cat\u00f2lica de Santa Maria de la Miseric\u00f2rdia) per “convertir-se en un lloc de culte i no una obra d\u2019art” (que, d\u2019alguna manera queda completada amb aquesta intervenci\u00f3).<\/p>\n
M\u00d3N GLOBAL. Ja a la Documenta 12 de Kassel, Enwezor es va proposar obrir-se a una gran diversitat cultural, una tend\u00e8ncia que ha seguit i fins i tot incrementat a Ven\u00e8cia. I s\u2019agraeix.<\/p>\n
PAVELLONS NACIONALS. Q\u00fcestionada a principis dels 2000, la idea dels pavellons nacionals torna a ser un tema rellevant no tant per la seva vig\u00e8ncia sin\u00f3 perqu\u00e8 el seu q\u00fcestionament es converteix en un tema en si mateix. \u00c9s el cas del Pavell\u00f3 de B\u00e8lgica en el qual l\u2019artista Vincent Meessen l\u2019obre a m\u00faltiples veus, convidant a d\u2019altres artistes internacionals que posen en primer pla el passat colonial del pa\u00eds i connectant directament amb els moments fundacionals de la biennal.<\/p>\n
POSICIONS HIST\u00d2RIQUES. Presentacions extenses d\u2019artistes clau o de refer\u00e8ncia, com Harun Farocki, Bruce Nauman, Marcel Broodthaers, Fabio Mauri, Chris Marker, Alexander Kluge, Hans Haacke, Robert Smithson o Adrian Piper, entre d\u2019altres, contribueixen a tra\u00e7ar genealogies tem\u00e0tiques o d\u2019artistes.<\/p>\n
VENEZIA. Irreal, inc\u00f2moda, excessiva, decadent i parc tem\u00e0tic, Ven\u00e8cia no \u00e9s nom\u00e9s un tel\u00f3 de fons sin\u00f3 que per moments contribueix a accentuar els contrastos i les contradiccions entre la realitat i la seva representaci\u00f3.<\/p>\n
EXTRA BONUS. Nom\u00e9s per ells, ja val la pena la visita a la biennal: l\u2019emocionat record d\u2019Ashes per part de Steve McQueen a l\u2019Arsenale; el subtil di\u00e0leg amb l\u2019arquitectura de Heimo Zobering al pavell\u00f3 austr\u00edac; la valentia i el relleu generacional del Pavell\u00f3 Espanyol amb Mart\u00ed Manen com a comissari i Francesc Ruiz, Cabello\/Carceller i Pepo Salazar com a artistes sota l\u2019ombra del Dal\u00ed m\u00e9s medi\u00e0tic; les riques refer\u00e8ncies hist\u00f2riques, musicals i liter\u00e0ries de Graham Fagen al pavell\u00f3 escoc\u00e8s (com a part dels Esdeveniments Col\u00b7laterals) i, last but not least, Hito Steyerl, una de les artistes presents al pavell\u00f3 alemany, explorant un m\u00f3n en el que les imatges transfereixen la realitat a l\u2019esfera virtual.<\/p>\n","protected":false},"excerpt":{"rendered":"
http:\/\/a-desk.org\/highlights\/La-Biennal-de-Venecia-en-12-apunts.html All the World\u2019s Futures \u00e9s una biennal mastod\u00f2ntica i bigarrada, que no deixa un moment de respir i que, per descomptat, no deixa indiferent. Una forma de tractar aquesta situaci\u00f3 d\u2019acumulaci\u00f3 i amb l\u2019assumpci\u00f3 que no \u00e9s possible veure-ho tot, \u00e9s deixar-se portar i definir un recorregut en el qual intentar descobrir m\u00e9s […]<\/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-918","post","type-post","status-publish","format-standard","hentry","category-textos-ca"],"yoast_head":"\n
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