{"id":48248,"date":"2014-12-19T06:44:02","date_gmt":"2014-12-19T06:44:02","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=48248"},"modified":"2022-09-24T12:59:36","modified_gmt":"2022-09-24T10:59:36","slug":"de-la-distancia-justa-pedro-hernandez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/de-la-distancia-justa-pedro-hernandez\/","title":{"rendered":"[:es]De la distancia (justa) | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Da distancia (xusta) | Pedro Hern\u00e1ndez[:en]Of the (just) distance | Pedro Hern\u00e1ndez[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong><\/span> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure><\/p>\n

En una reciente conversaci\u00f3n con Xxxxxxx Xxxxxx en SOMA, ella me pidi\u00f3 que explicara, en s\u00edntesis, que hac\u00eda a la hora de enfrentarme a la realizaci\u00f3n de un proyecto (art\u00edstico) \u201ccomo si lo dijera a un taxista\u201d, con el objeto de situarme en un ejercicio de poder comunicar(me) en poco tiempo a alguien que no me conoc\u00eda de nada.\u00a0Si bien titube\u00e9 en mi respuesta y fue algo enrevesada se podr\u00eda resumir en:<\/p>\n

\u201cSoy un arquitecto, que no construye, ni le interesa, que adem\u00e1s escribe (y hace fotos) pero que no se considera escritor (ni fot\u00f3grafo).\u201d<\/em><\/p><\/blockquote>\n

La respuesta contiene varias negaciones que no voy a desarrollar mucho m\u00e1s. Seguido de eso le cont\u00e9 mi trabajo, el primero que hice donde me distanci\u00e9 de la pr\u00e1ctica de la arquitectura que hab\u00eda tenido hasta entonces. En concreto le ense\u00f1\u00e9 unas cuentas fotograf\u00edas que forman parte de la serie 1Kil\u00f3metro<\/a>. Le habl\u00e9 de la importancia que supuso para mi aquel ejercicio, no s\u00f3lo porque tra\u00eda consigo ese primer momento de negaci\u00f3n (de construir) sino que tambi\u00e9n encerraba una imposibilidad que, como arquitecto, ten\u00eda para poder actuar ah\u00ed, dando lugar a lo que ya he mencionado: una toma de distancia.<\/p>\n

Distancia respecto a varias cosas: a la arquitectura -tanto material como profesional- al paisaje, a las leyes, etc. No es casual que, en mi toma de distancia, eligiera la fotograf\u00eda -documental- y el texto como principales herramientas. Una, me permit\u00eda volver a mirar, a trav\u00e9s de la interposici\u00f3n de un filtro (la c\u00e1mara) que serv\u00eda adem\u00e1s para enmarcar qu\u00e9 estaba viendo. Por contra, el texto me ayudaba a pensar, a verbalizar. Es decir, me ayudaba a darle un lenguaje, a ponerle nombre con el objeto de producir una propuesta que \u201cno se redujera al an\u00e1lisis cr\u00edtico de una realidad local, sino que establece una categorizaci\u00f3n de las acciones posibles, orientada a la fabricaci\u00f3n de un instrumental que se quiere disciplinar h\u00e1bil para interpretar y operar en contextos fr\u00e1giles como ese\u201d. Esto es, fue un ejercicio que no se limitaba a documentar sino a establecer una teor\u00eda en si misma. Dos acciones: mirar-pensar, que me abrieron muchas de las inquietudes que estoy realizando ahora: la investigaci\u00f3n, la escritura, etc.<\/p>\n

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\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Es evidente que este acercamiento supuso una conexi\u00f3n con el mundo de la academia, con sus pros y sus contras, que llevo a un cuestionamiento por parte de Xxxxxxx Xxxxxx. Ella, m\u00e1s ilustrada en el campo del arte, pon\u00eda abiertamente en duda que la academia sea una v\u00eda de hacer \u201cp\u00fablico\u201d un proyecto, de comunicarlo. De hecho, y volviendo a 1Kil\u00f3metro, preguntaba e insist\u00eda por qu\u00e9 yo hab\u00eda decidido mantener la distancia tal que no llegara a entablar contacto, por ejemplo, con los vecinos de las viviendas (cosa que, bien mirado, me parece discutible, pero entrar\u00e9 en ello m\u00e1s adelante), a lo que a\u00f1adi\u00f3\u00a0que era \u201cmuy de arquitecto eso de no hablar con la gente\u201d.<\/p>\n

No voy a entrar a valorar la imagen que tiene de mi profesi\u00f3n que, como todo t\u00f3pico, guarda algo de verdad (ganada a pulso), pero que,\u00a0como todo t\u00f3pico, es de visi\u00f3n reducida. Si a esto le sumamos su cuestionamiento de la academia -en donde parec\u00eda inscribirme- por su falta de acci\u00f3n, tenemos que el problema se reduc\u00eda al tema de la distancia. Para ella, como arquitecto o como fuera lo que estuviera haciendo (escribir, fotografiar, etc), yo estaba demasiado lejos.<\/p>\n

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\u2018<\/strong>1 Kil\u00f3metro<\/span><\/a><\/strong>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Es curioso como, tras la conversaci\u00f3n o por la conversaci\u00f3n, me he ido encontrando con varios textos que hablan de esta noci\u00f3n de distanciamiento. Copio a continuaci\u00f3n algunos fragmentos, no directamente enlazados del todo entre s\u00ed o con lo quiero decir, pero interesantes para apoyarme:<\/p>\n

\n

\u201cCuando los alemanes ya hab\u00eda perdido la guerra y los campos de concentraci\u00f3n hab\u00eda sido liberados, los Aliados fotografiaron y filmaron los campos con los sobrevivientes y las huellas que indicaban la muerte de millones de personas. Las im\u00e1genes m\u00e1s impactantes fueron las de las pilas de zapatos, los anteojos, las pr\u00f3tesis dentales y las monta\u00f1as de pelo. Quiz\u00e1s deban existir im\u00e1genes a la distancia, para que lo inimaginable puede ser comprendido. (Harun Farocki, Desconfiar de las im\u00e1genes)<\/em><\/p>\n

La distancia equivale a separaci\u00f3n, a establecer un vac\u00edo que impida el contacto, la implicaci\u00f3n y el compromiso. (\u2026) El alejamiento minimiza las opciones de configuraci\u00f3n (encuadre, punto de vista, etc.) al desvalorizar el eventual repertorio de decisiones adoptado por el operador; y, por otra parte, el alejamiento asegura una imagen m\u00e1s plana en la que el fot\u00f3grafo no se siente obligado a destacar nada. En la realizaci\u00f3n del documento aut\u00e9ntico, como hacer una fotocopia, ser\u00eda absurdo pretender resaltar un fragmento sobre otro. (Joan Fontcuberta, La c\u00e1mara de Pandora)<\/em><\/p>\n

En toda pasi\u00f3n te\u00f3rica hay algo de extra\u00f1amiento y extra\u00f1eza: ver algo como antes no se hab\u00eda visto. Es un asunto de tomar distancia, de apreciar lo distante aun a costa de lo cercano (\u2026) quienes pretenden hacer teor\u00edas sobre lo que tienen a mano, no hacen m\u00e1s que \u201csustraer a su objeto de la familiaridad cotidiana, empuj\u00e1ndolo a una distancia donde aparece tan extra\u00f1o como las estrellas\u201d. (Alejandro Hern\u00e1ndez G\u00e1lvez, Sombrillas, sombreros, sombras)\u201d<\/em><\/p>\n<\/blockquote>\n

Los tres textos, cada uno a su manera, hablan de tomar distancia justa desde la que ver las cosas. Ni muy cerca, \u201cpara que lo inimaginable pueda ser comprendido\u201d, ni muy lejos, donde las cosas se pierdan entre el ruido. Abrazan la idea que para pensar, uno debe alejarse sabiendo que puede perderse en la teor\u00eda, en la pura visi\u00f3n o en la mera documentaci\u00f3n.<\/p>\n

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\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Tomar distancia, en aquel entonces, fue entonces mi ejercicio necesario. Ver las cosas desde un afuera (del espacio y el tiempo) desde el que como arquitecto estaba \u201cobligado\u201d a ubicarme. Renegu\u00e9, alej\u00e1ndome, de la arquitectura; en el proceso encontr\u00e9 m\u00e1s c\u00f3modo -\u00bfdemasiado quiz\u00e1s?- \u00bfEs esa comodidad -ese alejamiento- algo que permita actuar o es s\u00f3lo una manera de mantenerse en el margen, en la periferia del conflicto? \u00bfEst\u00e1 mi distancia demasiado cerca de la teor\u00eda?, \u00bfpuede ser la teor\u00eda una pr\u00e1ctica en s\u00ed misma?\u00a0Xxxxxxx Xxxxxx\u00a0me recriminar\u00eda, como he dicho, que no me posicionara junto a ning\u00fan vecino, casi como si hubiera visto que ellos eran los m\u00e1s desamparados de esa situaci\u00f3n, y su pr\u00e1ctica en aquella zona fuera un ejercicio de resistencia frente a un poderoso Estado que s\u00f3lo quer\u00eda expulsarlos bajo la Ley de Costas. Pero lo que ella no se percat\u00f3 o yo no le supe hacer saber bien es que nadie era \u201cinocente\u201d en aquella situaci\u00f3n; que todos ten\u00edan sus propias -y ego\u00edstas-\u00a0razones para mantenerse all\u00ed y que lo que yo estaba mirando no eran \u00fanicamente unos ejercicios de resistencia (vecinales o estatales) por controlar el espacio sino la incongruencia entre lo que dice el plano, eso que har\u00eda el arquitecto, y la realidad material que exist\u00eda all\u00ed, denunciando, no s\u00f3lo que el arquitecto no estaba, sino que no ten\u00eda nada que decir en aquel lugar, porque su trabajo era la base misma del conflicto.<\/p>\n

Era preciso mantenerse fuera para poder denunciarlo todo -y a todos- sin estar \u201cobligado a destacar nada\u201d ni a nadie. Se trataba de establecer una mirada cr\u00edtica que estableciera cuales eran las causas y consecuencias que hab\u00eda construido all\u00ed \u201cmi profesi\u00f3n\u201d. Pero no me limit\u00e9 a mirar, tambi\u00e9n experiment\u00e9 el lugar de forma cotidiana: iba all\u00ed cada semana, lo recorr\u00eda, habitaba, sufr\u00eda y disfrutaba, siempre desde una distancia que me permit\u00eda observar, escribir y pensar lo suficiente -o as\u00ed cre\u00eda yo.\u00a0Fue, b\u00e1sicamente, un ejercicio de acercamiento y distanciamiento: me aproximaba al lugar y me alejaba, al mismo tiempo, del arquitecto que deb\u00eda ser. En definitiva, me alejaba del dise\u00f1o (que no iba a salvar nada), pero quiz\u00e1s, en el proceso, como apuntaba Xxxxxxx Xxxxxx, me convert\u00ed en \u201cdocumentalista o acad\u00e9mico\u201d, limit\u00e1ndome \u00fanicamente a describir.<\/p>\n

Una posici\u00f3n que,\u00a0bajo mi propia experiencia, parece ser marginal para muchos miembros del arte: la ven demasiado alejada de cualquier posibilidad real, como si el arte (que ser\u00eda entendido como acci\u00f3n) no se llevara nada bien con lo acad\u00e9mico: dejando entrever que pensamiento y acci\u00f3n, si bien no est\u00e1n enfrentados, son dos fen\u00f3menos demasiado alejados entre ellos: la teor\u00eda, parecen manifestar, est\u00e1 carente de pr\u00e1ctica. Sentimiento que apunta en su texto Alejandro Hern\u00e1ndez: \u201cLa teor\u00eda [la descripci\u00f3n] parece constituirse como tal al separarse de la pr\u00e1ctica, al tomar distancia\u201d;\u00a0pero, en ese proceso de alejamiento, la teor\u00eda \u201cestablece sus propias pr\u00e1cticas\u201d.<\/p>\n

\u00bfLa teor\u00eda, el alejamiento, la descripci\u00f3n, la visi\u00f3n pura, la documentaci\u00f3n, ser\u00edan entonces formas de acci\u00f3n?<\/p>\n

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\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong><\/span> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nciudad de m\u00e9xico. febrero 2014[:en]

\"\"<\/a>
\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong><\/span> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure><\/p>\n

In a recent conversation with Xxxxxxx Xxxxxx in SOMA,, she asked me to explain, in synthesis, which it was doing at the moment of facing the accomplishment of a (artistic) project \u201cas if he was saying it to a taxi driver\u201d, in order to place in an exercise of being able to report (me) in a little time to someone who did not know me you are welcome. Though I hesitated in my response and it was something intricate it might summarize in:<\/p>\n

\n

\u201cI am an architect, who neither constructs, he is not even interested, that in addition writes (and it does photos) but that does not consider writer (not even photographer).\u201d<\/em><\/p>\n<\/blockquote>\n

The response contains several denials that I am not going to develop much any more. Followed by it I told him my work, the first one that I did where I drifted apart from the practice of the architecture that had had till then. In I make concrete I taught a few accounts to him photographies that form a part of the series\u00a01Kil\u00f3metro<\/a>. I spoke to him about the importance that he supposed for my that exercise, not only because it was bringing with it this first moment of denial (of constructing) but also it was enclosing an impossibility that, as architect, had to be able to act there, giving place to what already I have mentioned: a capture of distance.<\/p>\n

Distance with regard to several things: to the architecture – both material and professional – to the landscape, to the laws, etc. It is not chance that, in my capture of distance, was choosing the photography – documentary – and the text as principal tools. One, was allowing myself to return to look, across the interposition of a filter (the chamber) that was serving in addition to frame what it saw. For against, the text was helping myself to think, to verbalize. That is to say, it was helping him give a language, putting name in order to produce an offer that \u201cwas not diminishing to the critical analysis of a local reality, but it establishes a categorization of the possible actions, orientated to the manufacture of a set of instruments who wants to be disciplined skilfully to interpret and to operate in fragile contexts as this\u201d. This is, it was an exercise that it was not limiting itself to documenting but to establishing a theory in if same. Two actions: to look to think, that they opened me many of the worries that I realize now: the investigation, the writing, etc.<\/p>\n

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\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

It is evident that this approximation supposed a connection with the world of the academy, with his pros and his cons, which I take to a question on the part of Xxxxxxx Xxxxxx. She, more illustrated in the field of the art, was putting openly in doubt that the academy is a route to make a project \u201cpublic\u201d, of communicating it. In fact, and returning to 1Kil\u00f3metro, it was asking and insisting why I had decided to support the such distance that was not managing to begin contact, for example, with the neighbors of the housings (thing that, thoughtfull good, seems to me to be debatable, but I will enter it hereinafter), to what it added that it belonged \u201cvery to architect it of not speaking with the people\u201d.<\/p>\n

I am not going to begin to value the image that has of my profession that, as any topic, he guards something indeed (gained pulse), but that, as any topic, is of limited vision. If to this we add his question of the academy – where it seemed inscribirme – for his lack of action, we have that the problem was diminishing to the topic of the distance. For her, as architect or since out what it was doing (to write, to come out in photographs, etc), I was too far.<\/p>\n

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\u2018<\/strong>1 Kil\u00f3metro<\/span><\/a><\/strong>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

It is curious as, after the conversation or for the conversation, I have been thinking several texts that they speak about this notion of distancing. I copy later some fragments, not directly connected completely between yes or with I it want to say, but interesting to rest:<\/p>\n

\n

\u201cWhen the Germans already it had lost the war and the concentration camps it had been liberated, the Allies photographed and filmed the fields with the survivors and the fingerprints that were indicating the death of million persons. The most striking images were those of the batteries of shoes, the spectacles, the dental protheses and the mountains of hair. Probably images should exist to the distance, in order that the unimaginable thing can be included. (Harun Farocki, To distrust the images)<\/em><\/p>\n

The distance is equivalent to separation, to establish an emptiness that prevents the contact, the implication and the commitment. (\u2026) The withdrawal minimizes the options of configuration (setting, point of view, etc.) on having devalued the eventual digest of decisions adopted as the operator; and, on the other hand, the withdrawal assures a flatter image in which the photographer does not feel obliged to emphasize anything. In the accomplishment of the authentic document, since a photocopy does, it would be absurd to try to highlight a fragment on other one. (Joan Fontcuberta, Pandora’s chamber)<\/em><\/p>\n

In any theoretical passion there is something of wonder and strangeness: to see something since before had not been seen. It is a matter of taking distance, of estimate the distant thing even at the cost of the nearby thing (\u2026) those who try to do theories on what they have to hand, they do not do any more that \u201c<\/em>to remove to his object of the daily familiarity, pushing to a distance where it turns out to be so strange as the stars \u201d<\/em>. (Alejandro Hern\u00e1ndez G\u00e1lvez, Parasols, hats, shades)\u201d<\/em><\/em><\/p>\n<\/blockquote>\n

Three texts, each one to his way, they speak of taking just distance from which to see the things. Not closely together, \u201cin order that the unimaginable thing could be understood\u201d, not very far, where the things get lost between the noise. They embrace the idea that to think, one must move away knowing that it can get lost in the theory, in the pure vision or in the mere documentation.<\/p>\n

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\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

To take distance, in those days, was at the time my necessary exercise. To see the things from one out (of the space and the time) from the one that as architect was \u201cforced\u201d to locate me. I renounced, moving away, of the architecture; in the process I found more comfortable – too probably? – it is this comfort – this withdrawal – something that allows to act or is only a way of being kept in the margin, in the periphery of the conflict? Is my distance too much near the theory?, can it be the theory a practice in yes same? Xxxxxxx Xxxxxx would reproach me, since I have said, that should not position me together with any neighbor, almost as if it had seen that they were most abandoned of this situation, and his practice in that zone was an exercise of resistance opposite to a powerful State that only wanted to expel them under the Law of Coasts. But what she did not notice or I could not make him know well it is that nobody was \u201cinnocent\u201d in that situation; that they all had his own – and egoists – reasons to be kept there and that at what I was looking they were not only a few exercises of resistance (local or state) for controlling the space but the incongruity between what he says the plane, it that the architect would do, and the material reality that existed there, denouncing, not only that the architect was not, but it did not have anything to say in that place, because his work was the base itself of the conflict.<\/p>\n

It was necessary to be kept out to be able to denounce everything – and to all – without being \u201cbound to emphasize nothing\u201d not to nobody. It was a question of establishing a critical look that it was establishing which were the reasons and consequences that he had constructed there \u201cmy profession\u201d. But I did not limit myself to looking, also I experienced the place of daily form: it was going there every week, was crossing it, was living, was suffering and enjoying, always from a distance that was allowing me to observe, to write and to think the sufficient thing – or this way I believed. It was, basically, an exercise of approximation and distancing: I was coming closer the place and was moving away, at the same time, from the architect who had to be. Definitively, I was moving away from the design (that was not going to save anything), but probably, in the process, since it was aiming At Xxxxxxx Xxxxxx, I turned into \u201cdocumentary maker or academician\u201d, limiting myself to describing only.<\/p>\n

A position that, under my own experience, seems to be marginal for many members of the art: her come too much removed from any royal possibility, as if the art (that would be understood as action) was not removing not well at all with the academic thing: stopping to guess that thought and action, though they are not faced, are two phenomena too much removed between them: the theory, they seem to demonstrate, it is lacking in practice. Feeling at that Alejandro Hern\u00e1ndez aims in his text: \u201cThe theory [the description] it it seems to be constituted the description as such on having separated of the practice, on having taken distance \u00ab; but, in this process of withdrawal, the theory \u201cestablishes his own practices\u201d.<\/p>\n

Would the theory, the withdrawal, the description, the pure vision, the documentation, be forms at the time of action?<\/p>\n

\"\"<\/a>
\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong><\/span> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 architect<\/p>\n

ciudad de m\u00e9xico. february 2014<\/p>\n

[:gl]

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\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong><\/span> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure><\/p>\n

Nunha recente conversaci\u00f3n con Xxxxxxx Xxxxxx en SOMA, ela pediume que explicase, en s\u00edntese, que fac\u00eda \u00e1 hora de enfrontarme \u00e1 realizaci\u00f3n dun proxecto (art\u00edstico) \u201c<\/em>coma se o dixese a un taxista\u201d<\/em>, co obxecto de situarme nun exercicio de poder comunicar(me) en pouco tempo a algu\u00e9n que non me co\u00f1ec\u00eda de nada. Se ben titubeei na mi\u00f1a resposta e foi algo arrevesada poder\u00edase resumir en:<\/p>\n

\n

\u201c\u00c9 un arquitecto, que non constr\u00fae, nin lle interesa, que ademais escribe (e fai fotos) pero que non se considera escritor (nin fot\u00f3grafo).\u201d<\/em><\/p>\n<\/blockquote>\n

A resposta cont\u00e9n varias negaci\u00f3ns que non vou desenvolver moito m\u00e1is. Seguido diso conteille o meu traballo, o primeiro que fixen onde me distanciei da pr\u00e1ctica da arquitectura que tivera ata ent\u00f3n. En concreto ensineille unhas contas fotograf\u00edas que forman parte da serie 1Kil\u00f3metro<\/a>.. Faleille da importancia que supuxo para o meu aquel exercicio, non s\u00f3 porque tra\u00eda consigo ese primeiro momento de negaci\u00f3n (de constru\u00edr) sen\u00f3n que tam\u00e9n encerraba unha imposibilidade que, como arquitecto, ti\u00f1a para poder actuar a\u00ed, dando lugar ao que xa mencionei: unha toma de distancia.<\/p>\n

Distancia respecto a varias cousas: \u00e1 arquitectura -tanto material coma profesional- \u00e1 paisaxe, \u00e1s leis, etc. Non \u00e9 casual que, na mi\u00f1a toma de distancia, elixise a fotograf\u00eda -documental- e o texto como principais ferramentas. Unha, permit\u00edame volver mirar, a trav\u00e9s da interposici\u00f3n dun filtro (a c\u00e1mara) que serv\u00eda ademais para enmarcar que estaba a ver. Pola contra, o texto axud\u00e1bame a pensar, a verbalizar. \u00c9 dicir, axud\u00e1bame a darlle unha linguaxe, a po\u00f1erlle nome co obxecto de producir unha proposta que \u201cnon se reducise \u00e1 an\u00e1lise cr\u00edtica dunha realidade local, sen\u00f3n que establece unha categorizaci\u00f3n das acci\u00f3ns posibles, orientada \u00e1 fabricaci\u00f3n dun instrumental que se quere disciplinar h\u00e1bil para interpretar e operar en contextos fr\u00e1xiles como ese\u201d. Isto \u00e9, foi un exercicio que non se limitaba a documentar sen\u00f3n a establecer unha teor\u00eda en se mesma. D\u00faas acci\u00f3ns: mirar-pensar, que me abriu moitas das inquietudes que estou a realizar agora: a investigaci\u00f3n, a escritura, etc.<\/p>\n

\"\"<\/a>
\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

\u00c9 evidente que este achegamento supuxo unha conexi\u00f3n co mundo da academia, cos seus proles e as s\u00faas contras, que levo a un cuestionamento por parte de Xxxxxxx Xxxxxx. Ela, m\u00e1is ilustrada no campo da arte, po\u00f1\u00eda abertamente en d\u00fabida que a academia sexa unha v\u00eda de facer \u201cp\u00fablico\u201d un proxecto, de comunicalo. De feito, e volvendo a 1Kil\u00f3metro, preguntaba e insist\u00eda por que eu decidira manter a distancia tal que non chegase a entaboar contacto, por exemplo, cos veci\u00f1os das vivendas (cousa que, ben mirado, par\u00e9ceme discutible, pero entrarei niso m\u00e1is adiante), ao que engadiu que era \u201cmoi de arquitecto iso de non falar coa xente\u201d.<\/p>\n

Non vou entrar a valorar a imaxe que ten da mi\u00f1a profesi\u00f3n que, como todo t\u00f3pico, garda algo de verdade (ga\u00f1ada a pulso), pero que, como todo t\u00f3pico, \u00e9 de visi\u00f3n reducida. Se a isto lle sumamos o seu cuestionamento da academia -onde parec\u00eda inscribirme- pola s\u00faa falta de acci\u00f3n, temos que o problema se reduc\u00eda ao tema da distancia. Para ela, como arquitecto ou como fose o que estivese a facer (escribir, fotografar, etc), eu estaba demasiado lonxe.<\/p>\n

\"\"<\/a>
\u2018<\/strong>1 Kil\u00f3metro<\/span><\/a><\/strong>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

\u00c9 curioso como, tras a conversaci\u00f3n ou pola conversaci\u00f3n, me fun encontrando con varios textos que falan desta noci\u00f3n de distanciamento. Copio a continuaci\u00f3n alg\u00fans fragmentos, non directamente enlazados de todo entre si ou con qu\u00e9roo dicir, pero interesantes para apoiarme:<\/p>\n

\n

\u201cCando os alem\u00e1ns xa perdera a guerra e os campos de concentraci\u00f3n foran liberados, os Aliados fotografaron e filmaron os campos cos sobrevivientes e as pegadas que indicaban a morte de mill\u00f3ns de persoas. As imaxes m\u00e1is impactantes foron as das pilas de zapatos, os anteollos, as pr\u00f3teses dentais e as monta\u00f1as de pelo. Quizais deban existir imaxes \u00e1 distancia, para que o inimaxinable pode ser comprendido. (Harun Farocki, Desconfiar das imaxes)<\/em><\/p>\n

A distancia equivale a separaci\u00f3n, a establecer un baleiro que impida o contacto, a implicaci\u00f3n e o compromiso. (…) El afastamento minimiza as opci\u00f3ns de configuraci\u00f3n (encadre, punto de vista, etc.) ao desvalorizar o eventual repertorio de decisi\u00f3ns adoptado polo operador; e, por outra parte, o afastamento asegura unha imaxe m\u00e1is plana na que o fot\u00f3grafo non se sente obrigado a destacar nada. Na realizaci\u00f3n do documento aut\u00e9ntico, como facer unha fotocopia, ser\u00eda absurdo pretender resaltar un fragmento sobre outro. (Joan Fontcuberta, La c\u00e1mara de Pandora)<\/em><\/p>\n

En toda paix\u00f3n te\u00f3rica hai algo de estra\u00f1amento e estra\u00f1eza: ver algo como antes non se vira. \u00c9 un asunto de tomar distancia, de apreciar o distante a\u00ednda a custa do pr\u00f3ximo (…) os que pretenden facer teor\u00edas sobre o que te\u00f1en a man, non fan m\u00e1is que \u201c<\/em>subtraer ao seu obxecto da familiaridade coti\u00e1, empurr\u00e1ndoo a unha distancia onde aparece tan estra\u00f1o como as estrelas\u201d. <\/em> (Alejandro Hern\u00e1ndez G\u00e1lvez, Antucas, sombreiros, sombras)\u201d<\/em><\/em><\/p>\n<\/blockquote>\n

Os tres textos, cada un ao seu xeito, falan de tomar distancia xusta dende a que ver as cousas. Nin moi preto, \u201cpara que o inimaxinable poida ser comprendido\u201d nin moi lonxe, onde as cousas se perdan entre o ru\u00eddo. Abrazan a idea que para pensar, un debe afastarse sabendo que pode perderse na teor\u00eda, na pura visi\u00f3n ou na mera documentaci\u00f3n.<\/p>\n

\"\"<\/a>
\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Tomar distancia, naquel ent\u00f3n, foi ent\u00f3n o meu exercicio necesario. Ver as cousas dende un f\u00f3ra (do espazo e o tempo) dende o que como arquitecto estaba \u201cobrigado\u201d a situarme. Reneguei, afast\u00e1ndome, da arquitectura; no proceso encontrei m\u00e1is c\u00f3modo -\u00bfdemasiado quizais?- \u00c9 esa comodidade -ese afastamento- \u00bfalgo que permita actuar ou \u00e9 s\u00f3 un xeito de manterse na marxe, na periferia do conflito? Est\u00e1 a mi\u00f1a distancia demasiado preto da teor\u00eda?, \u00bfpode ser a teor\u00eda unha pr\u00e1ctica en si mesma? Xxxxxxx Xxxxxx recriminar\u00edame, como dixen, que non me posicionase xunto a ning\u00fan veci\u00f1o, case coma se houbese visto que eles eran os m\u00e1is desamparados desa situaci\u00f3n, e a s\u00faa pr\u00e1ctica naquela zona f\u00f3ra un exercicio de resistencia fronte a un poderoso Estado que s\u00f3 quer\u00eda expulsalos baixo a Lei de Costas. Pero o que ela non se decatou ou eu non lle souben facer saber ben \u00e9 que ningu\u00e9n era \u00abinocente\u201d naquela situaci\u00f3n; que todos ti\u00f1an as s\u00faas propias -e ego\u00edstas- raz\u00f3ns para manterse al\u00ed e que o que eu estaba a mirar non eran unicamente uns exercicios de resistencia (veci\u00f1ais ou estatais) por controlar o espazo sen\u00f3n a incongruencia entre o que di o plano, iso que far\u00eda o arquitecto, e a realidade material que exist\u00eda al\u00ed, denunciando, non s\u00f3 que o arquitecto non estaba, sen\u00f3n que non ti\u00f1a nada que dicir naquel lugar, porque o seu traballo era a base mesma do conflito.<\/p>\n

Era preciso manterse f\u00f3ra para poder denuncialo todo -e a todos- sen estar \u201cobrigado a destacar nada\u201d nin a ningu\u00e9n. Trat\u00e1base de establecer unha mirada cr\u00edtica que establecese cuales eran as causas e consecuencias que constru\u00edra al\u00ed \u201ca mi\u00f1a profesi\u00f3n\u201d. Pero non me limitei a mirar, tam\u00e9n experimentei o lugar de forma coti\u00e1: \u00eda al\u00ed cada semana, percorr\u00edao, habitaba, sufr\u00eda e gozaba, sempre dende unha distancia que me permit\u00eda observar, escribir e pensar o suficiente -ou as\u00ed cr\u00eda eu. Foi, basicamente, un exercicio de achegamento e distanciamento: aproxim\u00e1bame ao lugar e afast\u00e1bame, ao mesmo tempo, do arquitecto que deb\u00eda ser. En definitiva, afast\u00e1bame do dese\u00f1o (que non \u00eda salvar nada), pero quizais, no proceso, como apuntaba Xxxxxxx Xxxxxx, convertinme en \u201cdocumentalista ou acad\u00e9mico\u201d, limit\u00e1ndome unicamente a describir.<\/p>\n

Unha posici\u00f3n que, baixo a mi\u00f1a propia experiencia, parece ser marxinal para moitos membros da arte: vena demasiado afastada de calquera posibilidade real, coma se a arte (que ser\u00eda entendido como acci\u00f3n) non se levase nada ben co acad\u00e9mico: deixando entrever que pensamento e acci\u00f3n, se ben non est\u00e1n enfrontados, son dous fen\u00f3menos demasiado afastados entre eles: a teor\u00eda, parecen manifestar, est\u00e1 carente de pr\u00e1ctica. Sentimento que apunta no seu texto Alejandro Hern\u00e1ndez: \u201cA teor\u00eda [a descrici\u00f3n] parece constitu\u00edrse como tal ao separarse da pr\u00e1ctica, ao tomar distancia\u201d; pero, nese proceso de afastamento, a teor\u00eda \u201cestablece as s\u00faas propias pr\u00e1cticas\u201d.<\/p>\n

\u00bfA teor\u00eda, o afastamento, a descrici\u00f3n, a visi\u00f3n pura, a documentaci\u00f3n, ser\u00edan ent\u00f3n formas de acci\u00f3n?<\/p>\n

\"\"<\/a>
\u20181 Kil\u00f3metro<\/span><\/a>\u2019<\/strong><\/span> | laperiferiadomestica.tumblr.com<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto<\/p>\n

ciudad de m\u00e9xico. febreiro 2014<\/p>\n

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

[:es] En una reciente conversaci\u00f3n con Xxxxxxx Xxxxxx en SOMA, ella me pidi\u00f3 que explicara, en s\u00edntesis, que hac\u00eda a la hora de enfrentarme a la realizaci\u00f3n de un proyecto (art\u00edstico) \u201ccomo si lo dijera a un taxista\u201d, con el objeto de situarme en un ejercicio de poder comunicar(me) en poco tiempo a alguien que […]<\/p>\n","protected":false},"author":36,"featured_media":48250,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[6713,12448,6522,6419,7166,5478,434,458,484,2083,12460,4505,4798,1103,1278],"class_list":["post-48248","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alejandro-hernandez-galvez","tag-arquitectura","tag-centro-documentacion","tag-charla","tag-comunicar","tag-conversacion","tag-documental","tag-educacion","tag-entrevista","tag-escribir","tag-fotografia","tag-landa-hernandez","tag-modelo-profesional","tag-profesion","tag-teoria"],"yoast_head":"\nDe la distancia (justa) | Pedro Hern\u00e1ndez<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]De la distancia (justa) | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Da distancia (xusta) | Pedro Hern\u00e1ndez[:en]Of the (just) 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