Vincle a l’article a A*DESK<\/a><\/p>\nEls imaginaris urbans ens permeten abordar la realitat social i urbana des de dimensions simb\u00f2liques, culturals i no tangibles. L\u2019antrop\u00f2leg i cr\u00edtic cultural N\u00e9stor Garc\u00eda Canclini afirmava en el seu llibre Imaginaris urbans que “molts pressupostos que guien l\u2019acci\u00f3 i les omissions dels ciutadans deriven de com percebem els usos de l\u2019espai urb\u00e0, els problemes de consum, tr\u00e0nsit i comunicaci\u00f3, i tamb\u00e9 de com imaginem les explicacions a aquestes q\u00fcestions”.<\/p>\n
\u00c0 la ville de… Barcelona \u00e9s una obra de teatre escrita i dirigida per Joan Oll\u00e9 (aquests dies en cartell al Teatre Lliure de Barcelona) que presenta, analitza, dissecciona i critica la ciutat de Barcelona, comprenent des de la Barcino de l\u2019\u00e8poca dels romans fins a l\u2019actual ciutat ocupada pels turistes i r\u00edgides normatives de l\u2019Ajuntament, que est\u00e0 comen\u00e7ant a resultar inc\u00f2moda als seus habitants. \u00c0 la ville de … Barcelona \u00e9s un retaule (que no una auca) plena d\u2019escenes i salts en el temps, per les quals desfilen personatges, llocs, formes de relacionar-se i de conviure. El recorregut es converteix en una mena de calidoscopi, compost per imatges que m\u00e9s que establir un discurs lineal, evoquen associacions a partir del fragment i el suggeriment. L\u2019imaginari de Barcelona es construeix emotivament a partir de referents molt diversos: fets, hist\u00f2ries, esdeveniments, personatges, llocs, can\u00e7ons o objectes.<\/p>\n
Fets com les exposicions de 1988 i 1929; la Setmana Tr\u00e0gica; la selecci\u00f3 de Barcelona com a seu dels Jocs Ol\u00edmpics del 1992 o el desmantellament dels \u201cxiringuitos\u201d de la Barceloneta, es conjuguen amb la desfilada\/aparici\u00f3 de personatges i prototips (el ser\u00e8, la monyos, el \u201cgafapasta\u201d que va als cinemes Verdi, el deprimit seguidor del Bar\u00e7a dels 80, els alcaldes Maragall i Tr\u00edas, els habituals del Liceu, el pakistan\u00e8s que ven llaunes al carrer…); amb objectes que rememoren fets destacats (que van des de l\u2019entrada del concert dels Beatles l\u2019any 1966 fins al primer Chupa-chup que es va menjar Johann Cruyff despr\u00e9s de deixar de fumar), llocs (bars i clubs, cinemes desapareguts, la Boqueria) i refer\u00e8ncies liter\u00e0ries (aqu\u00ed s\u00ed que trobem un veritable arsenal: Eduardo Mendoza, Jaime Gil de Biedma, Manuel V\u00e1zquez Montalb\u00e1n, Joan Maragall, George Orwell, Jean Genet, Joan Salvat-Papasseit, Merc\u00e8 Rodoreda, Josep Carner, Rafael Duyos, Jos\u00e9 Agust\u00edn Goytisolo, Josep Pedrals, Josep Maria de Sagarra i Jacint Verdaguer).<\/p>\n
Encara que l\u2019obra no deixa de ser de consum intern, s\u2019evidencia l\u2019ambig\u00fcitat d\u2019una mirada que conjuga amor-odi a parts iguals. Hi ha moments emotius, per\u00f2 tamb\u00e9 cr\u00edtica despietada: com un sorteig de loteria en qu\u00e8 van cantant els n\u00fameros (per exemple: els informes encarregats per les administracions p\u00fabliques que no serveixen per a res) i els premis (“una pastaradaaaaaaaa”); o una recreaci\u00f3 de l\u2019Angelus de Millet (en aquest cas Millet \u00e9s F\u00e8lix Millet) amb el seu inventari de despeses i d\u2019assistents a les noces de les seves filles deixant clara la vinculaci\u00f3 amb “les millors fam\u00edlies” de la ciutat. Tamb\u00e9 hi ha \u00e0cides, molt \u00e0cides superposicions d\u2019escenes: la fletxa que enc\u00e9n el pebeter dels Jocs Ol\u00edmpics es transforma en la bala que executa a Companys o el crit col\u00b7lectiu i entusiasta al con\u00e8ixer-se la seu dels jocs del 92 es confon amb l\u2019enrenou produ\u00eft per l\u2019entrada de les tropes franquistes al 39.<\/p>\n
Per aix\u00f2 ens enfadem quan aquesta inclusi\u00f3 de Barcelona es fa malament, i especialment quan es fa malament en art contemporani. Per exemple, cada vegada que el MACBA exposa la seva col\u00b7lecci\u00f3 i intenta introduir amb cal\u00e7ador refer\u00e8ncies al context (rastrejant l\u2019her\u00e8ncia de la modernitat en la construcci\u00f3 de l\u2019Exposici\u00f3 Universal del 29, mostrant els espais anodins i poc recognoscibles de Barcelona registrats per Jean-Marc Bustamante o “la ciutat de la gent” retratada per Craigie Horsfield) sense per aix\u00f2 relacionar-se de veritat amb aquest context ni oferint una mirada, ja sigui af\u00ed o cr\u00edtica sobre ell, o ambdues coses alhora, perqu\u00e8 \u00e9s precisament en aquesta tensi\u00f3 (que \u00c0 la ville de… Barcelona resol tan b\u00e9) on rau la veritable voluntat d\u2019intentar entendre el m\u00f3n que ens envolta o la ciutat en qu\u00e8 vivim.<\/p>\n","protected":false},"excerpt":{"rendered":"
Vincle a l’article a A*DESK Els imaginaris urbans ens permeten abordar la realitat social i urbana des de dimensions simb\u00f2liques, culturals i no tangibles. L\u2019antrop\u00f2leg i cr\u00edtic cultural N\u00e9stor Garc\u00eda Canclini afirmava en el seu llibre Imaginaris urbans que “molts pressupostos que guien l\u2019acci\u00f3 i les omissions dels ciutadans deriven de com percebem els […]<\/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-976","post","type-post","status-publish","format-standard","hentry","category-textos-ca"],"yoast_head":"\n
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