Qu\u00e9 \u00e9s la ciutat, si no la gent? Jeremy Deller al CA2M<\/a><\/p>\nNom\u00e9s per haver fet The Battle of Orgreave (An Injury to One is an injury to All) (La Batalla de Orgreave (si en fereixen a un fereixen a tots) (2001), Jeremy Deller mereix una posici\u00f3 destacada entre els artistes del segle XXI. Afortunadament per a ell, Orgreave \u00e9s un entre altres brillants treballs. La traject\u00f2ria de Deller es defineix a partir de fites remarcables, com la reconstrucci\u00f3 de la dura confrontaci\u00f3 entre policies i miners que va tenir lloc a Orgreave (South Yorkshire) l\u2019any 1981, que va significar la fi d\u2019una \u00e8poca d\u2019industrialitzaci\u00f3 i que, de la m\u00e0 del neoliberalisme m\u00e9s salvatge de l\u2019\u00e8poca Thatcher, va donar pas a una economia basada en l\u2019entreteniment i els serveis. Un altre treball clau \u00e9s The History of the World (La Hist\u00f2ria del M\u00f3n) (1997) un diagrama dibuixat sobre la paret que posa en relaci\u00f3 les connexions entre l\u2019escena musical i el context social i pol\u00edtic a la Gran Bretanya, un mapa mental que estableix una xarxa d\u2019influ\u00e8ncies i relacions que vincula dos estils musicals \u2013l\u2019acid house i les brass bands- amb fets com la desindustrialitzaci\u00f3 o la vaga de la mineria, mentre subratlla el component de dissid\u00e8ncia -en relaci\u00f3 a l\u2019ordre social i pol\u00edtic del moment- que tots dos comparteixen.<\/p>\n
M\u00e9s exemples: So Many Ways to Hurt you (The Life and Times of Adrian Street), Tantes maneres de fer-te mal (Vida i \u00e8poca d\u2019Adrian Street) (2010) \u00e9s la biografia, explicada per ell mateix, del fill d\u2019un miner gal\u00b7l\u00e8s a qui el seu pare i la seva comunitat van ridiculitzar i que, fascinat pel culturisme, va acabar fent carrera en els anys seixanta i setanta com a lluitador professional, amb aparicions estel\u00b7lars en programes de televisi\u00f3. El mateix Adrian Street narra les seves viv\u00e8ncies i s\u2019autodefineix en un poema com \u00abun dol\u00e7 transvestit amb un nas trencat.\u00bb La seva extravag\u00e0ncia el va portar als Estats Units, on va fer carrera com a figura destacada del wrestling, la lluita lliure americana, per continuar vivint a Florida i regentant un taller d\u2019indument\u00e0ria, que ell mateix dissenya, relacionada amb la ind\u00fastria de la lluita lliure. Una altra personalitat tan idiosincr\u00e0tica com el mateix Adrian Street, i tamb\u00e9 exemple de reinvenci\u00f3, \u00e9s The Bruce Lacey Experience (El M\u00f3n de Bruce Lacey) (2012), un perfil art\u00edstic ben peculiar, amb el que m\u00e9s que emfatitzar la seva extravag\u00e0ncia, posa sobre la taula l\u2019estandarditzaci\u00f3 de l\u2019escena art\u00edstica i cultural. O finalment, English Magic (M\u00e0gia Anglesa), la seva proposta per al pavell\u00f3 brit\u00e0nic de la Biennal de Ven\u00e8cia de 2013, en la qual elabora un retrat cr\u00edtic de la Gran Bretanya, on no falten les al\u00b7lusions a la corrupci\u00f3 o l\u2019intervencionisme internacional, i en el qual, en definitiva, mostra tot el que estima i tamb\u00e9 el que odia del seu pa\u00eds.<\/p>\n
Si fem aquest rep\u00e0s per la traject\u00f2ria de Jeremy Deller \u00e9s perqu\u00e8 aquests dies es poden revisar aquests i d\u2019altres treballs en una exposici\u00f3 intel\u00b7ligentment comissariada per Cuauht\u00e9moc Medina, Amanda de la Garza i, sens dubte, el mateix artista, al Centro de Arte 2 de Mayo a M\u00f3stoles, Madrid. \u00c9s aquesta una mostra que encaixa a la perfecci\u00f3 en la l\u00ednia discursiva del centre, dirigit per Ferran Barenblit, que en alguns moments ha centrat la seva atenci\u00f3 en aspectes relacionats amb la m\u00fasica o la cultura popular com a elements que defineixen el nostre present.<\/p>\n
Jeremy Deller. L\u2019ideal infinitament variable del popular \u00e9s una exposici\u00f3 que pren el seu t\u00edtol de Baudelaire i la seva apel\u00b7laci\u00f3 al “ideal infinitament variable de la bellesa”. No \u00e9s casualitat l\u2019aparici\u00f3 aqu\u00ed de Baudelaire qui, de fet, sempre va defensar la posici\u00f3 lliure de l\u2019artista davant els mitjans que utilitzava, paral\u00b7lelisme que en el cas de Deller \u00e9s ben clar. La mostra s\u2019inicia cronol\u00f2gicament amb Open Bedroom (Habitaci\u00f3 oberta) (1993-2012), una instal\u00b7laci\u00f3 que recrea l\u2019exposici\u00f3 que l\u2019artista va fer al que era el seu “estudi” mentre estudiava, la seva habitaci\u00f3 a casa dels seus pares, aprofitant una abs\u00e8ncia d\u2019aquests, i de la qual nom\u00e9s van tenir not\u00edcia deu anys m\u00e9s tard, quan van veure les imatges en un llibre. La instal\u00b7laci\u00f3, que recrea no nom\u00e9s les obres presentades sin\u00f3 tamb\u00e9 l\u2019entorn, enlla\u00e7a directament amb tota una llista d\u2019iniciatives independents d\u2019artistes i comissaris en espais privats i personals, com Hans-Ulrich Obrist a la cuina de casa, Hou Hanru al passad\u00eds del seu apartament a Par\u00eds o Mart\u00ed Manen a la seva habitaci\u00f3, entre molt\u00edssims altres.<\/p>\n
Jeremy Deller. L\u2019ideal infinitament variable d\u2019all\u00f2 popular es va aturant, com esment\u00e0vem al principi, en les fites de la seva traject\u00f2ria. El que s\u2019evidencia en aquest recorregut \u00e9s com el seu treball es converteix en una investigaci\u00f3 d\u2019all\u00f2 popular, de l\u2019est\u00e8tica de la participaci\u00f3: sovint l\u2019artista \u00e9s l\u2019iniciador o catalitzador de processos per als quals compta amb col\u00b7laboracions ben diverses, cedint el protagonisme a grups diversos, ja siguin miners, fans de grups musicals, brass bands o artesans que realitzen els m\u00e9s incre\u00efbles estendards. Per\u00f2, sobretot, reconstrueix hist\u00f2ries del passat, ja siguin col\u00b7lectives o individuals. Aquestes reconstruccions evidencien diferents coses, per exemple, la desindustrialitzaci\u00f3 d\u2019un pa\u00eds i com tracta a les persones (The Battle of Orgreave), a la vegada que es constitueix en un toc d\u2019atenci\u00f3 davant els efectes de l\u2019avan\u00e7 implacable del neoliberalisme m\u00e9s salvatge, una refer\u00e8ncia que no ha de passar-nos per alt, ja que si la Gran Bretanya va anar primer, la resta d\u2019Europa es troba ara mateix a les portes d\u2019aquest tipus de nefast proc\u00e9s. Tamb\u00e9 mostra el pas d\u2019un model de pa\u00eds industrialitzat a un altre basat en l\u2019entreteniment (So Many Ways to Hurt You (The Life and Times of Adrian Street) o el lloc que queda per a les actituds independents i idiosincr\u00e0tiques (The Bruce Lacey experience). Per\u00f2 sobretot es d\u00f3na valor a les persones, que s\u00f3n al centre de tot (What is the City but the People? (Qu\u00e8 \u00e9s la ciutat sin\u00f3 la gent?) (2009) una instal\u00b7laci\u00f3 al metro de Londres, en el qual apareixien una s\u00e8rie de cites de Shakespeare, Pascal o Ionesco).<\/p>\n
El treball de Deller parla de llibertat, de la capacitat de redefinir i de reinventar-se, mostra els conflictes i les seves conseq\u00fc\u00e8ncies, per\u00f2 sobretot ofereix la possibilitat d\u2019un espai per al pensament. I, last but not least, ens apel\u00b7la directament, no nom\u00e9s perqu\u00e8 utilitza tot tipus de materials i mitjans art\u00edstics de proced\u00e8ncia ben diversa, sin\u00f3 sobretot perqu\u00e8 respira honestedat, entusiasme i emoci\u00f3.<\/p>\n","protected":false},"excerpt":{"rendered":"
Qu\u00e9 \u00e9s la ciutat, si no la gent? Jeremy Deller al CA2M Nom\u00e9s per haver fet The Battle of Orgreave (An Injury to One is an injury to All) (La Batalla de Orgreave (si en fereixen a un fereixen a tots) (2001), Jeremy Deller mereix una posici\u00f3 destacada entre els artistes del segle XXI. […]<\/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-928","post","type-post","status-publish","format-standard","hentry","category-textos-ca"],"yoast_head":"\n
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