{"id":47797,"date":"2014-09-15T06:30:26","date_gmt":"2014-09-15T06:30:26","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=47797"},"modified":"2020-01-31T15:07:05","modified_gmt":"2020-01-31T14:07:05","slug":"monument-2","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/monument-2\/","title":{"rendered":"MonumentMonumentMonument"},"content":{"rendered":"

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\"\"<\/a><\/p>\n

Las ciudades est\u00e1n hechas de edificios, infraestructuras, calles, plazas, parques, esquinas y rincones que dan sentido al encuentro, a la confrontaci\u00f3n y al intercambio. La forma y el significado de sus espacios tienden a ser el resultado de la mezcla de dos procesos distintos y complementarios: o son espacios planificados, regidos por proyectos que prefiguran \u2013con mayor o menor fortuna\u2013 la forma y el car\u00e1cter de la ciudad; o son transformaciones informales que han ido creciendo org\u00e1nicamente, donde la planificaci\u00f3n trata de domar a posteriori los supuestos desajustes antes creados. Dos procesos que se simultanean y que, en el mejor de los casos, responden a una sabia convivencia de ambos: la ciudad que crece bajo la necesidad emergente de sus contingencias, y la que es capaz de prever y proyectar sus anhelos futuros, as\u00ed como corregir las perversiones e injusticias generadas por la especulaci\u00f3n y falta de planificaci\u00f3n.<\/p>\n

Estas ciudades \u2013que son todas\u2013 se balancean entre la regulaci\u00f3n y la emergencia, mientras coinciden en la necesidad de venerar a la Historia y sus protagonistas mediante una monumentalizaci\u00f3n que tiende a poner orden y establecer jerarqu\u00edas futuras. La conquista de renovados escenarios \u00e9ticos y est\u00e9ticos \u2013sean impuestos o reclamados\u2013 forma parte de las estrategias urbanas de ambos modelos, cuyos s\u00edmbolos cosifican los anhelos comunitarios o imponen ajustes de control en los discursos del poder.<\/p>\n

Frente a los distintos procesos que desde abajo est\u00e1n modificando irreversiblemente la vida p\u00fablica \u2013o quiz\u00e1s como consecuencia de ellos\u2013 se observa una aguda revitalizaci\u00f3n de las ret\u00f3ricas monumentales. Banderas, h\u00e9roes ensalzados, instalaciones p\u00fablicas, se\u00f1alamientos metropolitanos…, toda una imaginer\u00eda que petrific\u00f3 los relatos hist\u00f3ricos se esparce por el paisaje de la ciudad, vulgarizando en muchos casos su potencia ideol\u00f3gica y simb\u00f3lica.<\/p>\n

Los monumentos esconden cierta apropiaci\u00f3n del espacio colectivo, cierto secuestro de la memoria social, aunque tambi\u00e9n se percibe en ellos la dificultad por acoger las pluralidades sin estereotiparlas, el af\u00e1n por desterrar cualquier duda o incertidumbre.<\/p>\n

As\u00ed, hasta la irrupci\u00f3n de los movimientos de vanguardia, la gram\u00e1tica del monumento, desde las edificaciones rituales de la antig\u00fcedad hasta la estatuaria urbana del siglo XIX, permaneci\u00f3 pr\u00e1cticamente inalterada, mientras que las formas de la erecci\u00f3n \u2013peanas, columnas, obeliscos, arcos de triunfo y cenotafios a la victoria\u2013 marcaban el territorio ciudadano, erigiendo verdaderas jerarqu\u00edas de volumen, de imagen y de significado. El arte contempor\u00e1neo hered\u00f3 el dictum vanguardista con el que trascender los c\u00f3digos m\u00e1s inmediatos. No obstante, la necesidad de perpetuaci\u00f3n de unos hechos pasados o de unos deseos futuros por parte del poder contin\u00faa intacta. Sin embargo, \u00bfqui\u00e9n sustenta un monumento? \u00bfQui\u00e9n lo legitima? \u00bfC\u00f3mo emerge? \u00bfDe qu\u00e9 manera arraiga en la comunidad y en el espacio p\u00fablico?<\/p>\n

Todas estas preguntas ofrecen respuestas dif\u00edcilmente un\u00edvocas, alimentadas por la consideraci\u00f3n de que, en la actualidad, cualquier dial\u00e9ctica entre nostalgia y futuro ya no expresa ni la voluntad ni el sentir social y que, por tanto, matizan el rendimiento de los monumentos, el \u00e9xito o el fracaso de sus inevitables apropiaciones.<\/p>\n

Nonument<\/em> es un proyecto con el que el MACBA invita a 28 artistas de su entorno para que reflexionen sobre c\u00f3mo se puede incidir hoy, desde las pr\u00e1cticas del arte, en los problem\u00e1ticos v\u00ednculos entre acontecimiento, conmemoraci\u00f3n, est\u00e9tica y ciudad. El resultado es un conjunto de propuestas in\u00e9ditas \u2013espec\u00edficamente concebidas para esta exposici\u00f3n\u2013, donde se observa de qu\u00e9 modo reinterpretan los lenguajes art\u00edsticos la tradici\u00f3n del monumento.<\/p>\n

Asimismo, Nonument<\/em> pretende constituirse como un laboratorio abierto sobre la inminente proliferaci\u00f3n de s\u00edmbolos que colonizan los espacios reales y virtuales de nuestro entorno, una plataforma discursiva que investigue cu\u00e1les son las condiciones bajo las que los artistas se incorporan a estos debates urgentes.<\/p>\n

Sede:<\/strong> Sala d\u2019exposicions del Convent dels \u00c0ngels
\nComisarios:<\/strong> Josep Bohigas y Bartomeu Mar\u00ed
\nOrganizaci\u00f3n y producci\u00f3n<\/strong>: Museu d\u2019Art Contemporani de Barcelona (MACBA).<\/p>\n

Este proyecto forma parte del programa de Conmemoraci\u00f3n del Tricentenario de los hechos de 1714<\/strong>.<\/p>\n

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\"\"<\/a><\/p>\n

As cidades est\u00e1n feitas de edificios, infraestruturas, r\u00faas, prazas, parques, esquinas e cantos que dan sentido ao encontro, \u00e1 confrontaci\u00f3n e ao intercambio. A forma e o significado dos seus espazos tenden a ser o resultado da mestura de dous procesos distintos e complementarios: ou son espazos planificados, rexidos por proxectos, que prefiguran -con maior ou menor fortuna- a forma e o car\u00e1cter da cidade; ou son transformaci\u00f3ns informais que foron crecendo organicamente, onde a planificaci\u00f3n trata de domar a posteriori os supostos desaxustes antes creados. Dous procesos que se simultanean e que, no mellor dos casos, responden a unha sabia convivencia de ambos os dous: a cidade que crece baixo a necesidade emerxente das s\u00faas continxencias, e a que \u00e9 capaz de prever e proxectar os seus anhelos futuros, as\u00ed como corrixir as perversi\u00f3ns e inxustizas xeradas pola especulaci\u00f3n e falta de planificaci\u00f3n.<\/p>\n

Estas cidades -que son todas- balanc\u00e9anse entre a regulaci\u00f3n e a emerxencia, mentres coinciden na necesidade de venerar a Historia e os seus protagonistas mediante unha monumentalizaci\u00f3n que tende a po\u00f1er orde e establecer xerarqu\u00edas futuras. A conquista de renovados escenarios \u00e9ticos e est\u00e9ticos -sexan impostos ou reclamado- forma parte das estratexias urbanas de ambos os dous modelos, cuxos s\u00edmbolos cosifican os anhelos comunitarios ou impo\u00f1en axustes de control nos discursos do poder.<\/p>\n

Fronte aos distintos procesos que dende abaixo est\u00e1n a modificar irreversiblemente a vida p\u00fablica -ou quizais como consecuencia deles- obs\u00e9rvase unha aguda revitalizaci\u00f3n das ret\u00f3ricas monumentais. Bandeiras, heroes enxalzados, instalaci\u00f3ns p\u00fablicas, sinalizaci\u00f3ns metropolitanas…, toda unha imaxinar\u00eda que petrificou os relatos hist\u00f3ricos se esparexe pola paisaxe da cidade, vulgarizando en moitos casos a s\u00faa potencia ideol\u00f3xica e simb\u00f3lica.<\/p>\n

Os monumentos esconden certa apropiaci\u00f3n do espazo colectivo, certo secuestro da memoria social, a\u00ednda que tam\u00e9n se percibe neles a dificultade por acoller as pluralidades sen estereotipalas, o af\u00e1n por desterrar calquera d\u00fabida ou incerteza.<\/p>\n

As\u00ed, ata a irrupci\u00f3n dos movementos de vangarda, a gram\u00e1tica do monumento, dende as edificaci\u00f3ns rituais da antig\u00fcidade ata a estatuaria urbana do s\u00e9culo XIX, permaneceu practicamente inalterada, mentres que as formas da erecci\u00f3n -pea\u00f1as, columnas, obeliscos, arcos de triunfo e cenotafios \u00e1 vitoria- marcaban o territorio cidad\u00e1n, erixindo verdadeiras xerarqu\u00edas de volume, de imaxe e de significado. A arte contempor\u00e1nea herdou o dictum vangardista co que transcender os c\u00f3digos m\u00e1is inmediatos. Non obstante, a necesidade de perpetuaci\u00f3n duns feitos pasados ou duns desexos futuros por parte do poder contin\u00faa intacta. Non obstante, quen sustenta un monumento? Quen o lexitima? Como emerxe? De que xeito arraiga na comunidade e no espazo p\u00fablico?<\/p>\n

Todas estas preguntas ofrecen respostas dificilmente un\u00edvocas, alimentadas pola consideraci\u00f3n de que, na actualidade, calquera dial\u00e9ctica entre nostalxia e futuro xa non expresa nin a vontade nin o sentir social e que, polo tanto, matizan o rendemento dos monumentos, o \u00e9xito ou o fracaso das s\u00faas inevitables apropiaci\u00f3ns.<\/p>\n

Nonument<\/em> \u00e9 un proxecto co que o MACBA invita 28 artistas do seu \u00e1mbito para que reflexionen sobre como se pode incidir hoxe, dende as pr\u00e1cticas da arte, nos problem\u00e1ticos v\u00ednculos entre acontecemento, conmemoraci\u00f3n, est\u00e9tica e cidade. O resultado \u00e9 un conxunto de propostas in\u00e9ditas -especificamente concibidas para esta exposici\u00f3n-, onde se observa reinterpretan as linguaxes art\u00edsticas de que modo a tradici\u00f3n do monumento.<\/p>\n

As\u00ed mesmo, Nonument<\/em> pretende constitu\u00edrse como un laboratorio aberto sobre a inminente proliferaci\u00f3n de s\u00edmbolos que colonizan os espazos reais e virtuais do noso \u00e1mbito, unha plataforma discursiva que investigue cales son as condici\u00f3ns baixo as que os artistas se incorporan a estes debates urxentes.<\/p>\n

Sede:<\/strong> Sala d\u2019exposicions del Convent dels \u00c0ngels
\nComisarios:<\/strong> Josep Bohigas y Bartomeu Mar\u00ed
\nOrganizaci\u00f3n e producci\u00f3n<\/strong>: Museu d\u2019Art Contemporani de Barcelona (MACBA).<\/p>\n

Este proxecto forma parte do programa de Conmemoraci\u00f3n do Tricentenario dos feitos de 1714<\/strong>.<\/p>\n

<\/p>\n

\"\"<\/a><\/p>\n

Cities are made of buildings, infrastructures, streets, squares, parks and corners that are conducive to meetings, confrontations and exchanges. The form and meaning of these spaces tend to be the result of a mixture of two distinct yet complementary processes: they are either planned and governed by projects that prefigure \u2013 with varying degrees of success \u2013 the form and character of the city; or they are organically-grown, informal ransformations, where planning tries to rectify a posteriori existing malfunctions.<\/p>\n

Two simultaneous processes that, with luck, can happily coexist: a city that grows under the emerging necessities of its contingencies, and one capable of predicting and projecting its future aspirations, as well as correcting the perversions and injustices provoked by speculation and lack of planning.<\/p>\n

These cities \u2013 i.e., all of them \u2013 are balanced between regulation and emergency, while accepting the need to venerate History and its protagonists through a monumentalisation that favours order and the establishment of future hierarchies. The conquest of new ethical and aesthetic scenarios \u2013 whether imposed or reclaimed \u2013 is part of the urban strategies of both these models, whose symbols either reify the collective aspirations or impose control adjustments on the power discourses.<\/p>\n

The emergence of the different processes that are irreversibly modifying public life from the bottom up \u2013 or perhaps as a consequence of it \u2013 has provoked a sharp increase in monumental rhetoric. Flags, acclaimed heroes, public installations, metropolitan signposting\u2026 a whole imagery petrifying historical events is occupying the urban landscape, and in many cases vulgarising its ideological and symbolic power.<\/p>\n

Behind monuments lies a certain appropriation of the collective space, an abduction of social memory, as well as the difficulty in embracing pluralities without stereotyping them, and the need to cast out any doubts or uncertainties.<\/p>\n

Until the arrival of the avant-garde movements, the grammar of the monument \u2013 from the ritual constructions of antiquity to the urban statuary of the nineteenth century \u2013 was practically unaltered, while the norms for the erection of plinths, columns, obelisks, triumphal arches and cenotaphs marked the urban territory, establishing true hierarchies of volume, image and meaning. Contemporary art inherited the avant-garde dictum for transcending the most immediate codes. And yet, the need of those in power to perpetuate past events or future aspirations remains intact. But who supports a monument? Who legitimises it? How does it emerge? How does it become rooted in the community and the public sphere?<\/p>\n

<\/em>There are no straightforward answers to these questions, for nowadays the dialectics between nostalgia and future no longer express the will and sentiments of society and, therefore, the success or failure of a monument is determined by its inevitable appropriations.<\/p>\n

Nonument<\/em> is a project in which MACBA has invited twenty-eight artists closely associated with the Museum to reflect on how, from the practice of art, it may be possible nowadays to enter into the problematic links between event, commemoration, aesthetics and city. The result is a series of new proposals \u2013 specifically conceived for this exhibition \u2013 showing how the tradition of monuments can be reinterpreted through the artistic languages.<\/p>\n

At the same time, Nonument<\/em> can also be seen as an open laboratory on the imminent proliferation of symbols colonising real and virtual spaces in our environment, a discursive platform from which to investigate how artists can join these pressing debates.<\/p>\n

Curators:<\/strong> Josep Bohigas y Bartomeu Mar\u00ed.Organisation and production:<\/strong> Museu d\u2019Art Contemporani de Barcelona (MACBA).<\/p>\n

This project takes part of the commemoration of the Tercentenary of the events of 1714<\/strong>.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Las ciudades est\u00e1n hechas de edificios, infraestructuras, calles, plazas, parques, esquinas y rincones que dan sentido al encuentro, a la confrontaci\u00f3n y al intercambio. La forma y el significado de sus espacios tienden a ser el resultado de la mezcla de dos procesos distintos y complementarios: o son espacios planificados, regidos por proyectos que prefiguran […]<\/p>\n","protected":false},"author":2,"featured_media":47798,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[10923,10942,10927,10828,10943,12449,191,10918,9481,318,10937,10919,6540,10941,10930,516,556,10939,12461,10934,10924,6875,775,5435,10928,10940,10936,10932,10933,1062,10938,10929,10935,10926,10921,1241,10925,10931,10922,1335,10920],"class_list":["post-47797","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-exposiciones","tag-alex-gimenez","tag-alicia-framis","tag-alicia-kopf","tag-antoni-arola","tag-antonio-gagliano","tag-arte","tag-barcelona","tag-biblioteca-nacional-de-espana","tag-ciudad","tag-curro-claret","tag-daniela-ortiz","tag-david-bestue","tag-domenec","tag-eelo-vega","tag-espacio-publico","tag-exposicion","tag-gilda-mantilla","tag-intervencion-urbana","tag-itziar-barrio","tag-jorge-rodriguez-gerada","tag-josep-bohigas","tag-laboratorio","tag-macba","tag-marc-larre","tag-marcel-dalmau","tag-mariona-moncunill","tag-miralda","tag-muntadas","tag-planificacion-urbana","tag-raimond-chaves","tag-rogelio-lopez-cuenca","tag-sergi-botella","tag-silvia-gubern","tag-sitesize-torres","tag-sociedad","tag-terence-gower","tag-toni-llena","tag-trancesc-torres","tag-vanguardia","tag-victor-pimstein"],"yoast_head":"\nMonumentMonumentMonument - 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