{"id":59361,"date":"2016-03-04T06:13:25","date_gmt":"2016-03-04T05:13:25","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=59361"},"modified":"2024-07-08T09:38:04","modified_gmt":"2024-07-08T07:38:04","slug":"del-cansancio-i-pedro-hernandez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/del-cansancio-i-pedro-hernandez\/","title":{"rendered":"[:es]Del cansancio (I) | Landa Hern\u00e1ndez Mart\u00ednez[:en]Of the weariness (I) | Pedro Hern\u00e1ndez [:gl]Do cansazo (I) | Pedro Hern\u00e1ndez [:]"},"content":{"rendered":"

[:es]<\/p>\n

Violencia blanca<\/em> es el nombre de una exposici\u00f3n realizada en el marco del proyecto art\u00edstico 1 Mes \/ 1 Artista<\/em>, un peque\u00f1o espacio ubicado en el Centro Hist\u00f3rico de ciudad de M\u00e9xico. Realizada por la artista japonesa Seiko Yamamoto<\/a> esta obra parte de la arquitectura moderna como leitmotiv<\/em>.<\/p>\n

Su inici\u00f3 es sencillo, Yamamoto toma el color predominantemente blanco que caracterizaba a esta arquitectura \u2013que ten\u00eda en su origen criterios puramente utilitarios vinculados a la higiene y la salubridad\u2013 para establecer una cr\u00edtica hacia lo impersonal y poco sensible que resulta este tipo de espacios. La artista japonesa recurre a su propia biograf\u00eda para cuestionar los valores a\u00fan vigentes:<\/p>\n

\n

\u201cEn [Senri Nueva Ciudad] \u2013la ciudad donde creci\u00f3 la artista, construida de cero en 1970 de acuerdo a valores modernos\u2013 no puedo sentir ni el olor que genera un ser humano\u201d.<\/em><\/p>\n<\/blockquote>\n

\"Sanatorio<\/a>
Sanatorio Paimio (1928-1933) de Alvar Aalto<\/span><\/figcaption><\/figure>\n

Alejandro Hern\u00e1ndez G\u00e1lvez expon\u00eda en Arquine<\/a> c\u00f3mo se cuestionaba este modelo arquitect\u00f3nico incluso en su propia \u00e9poca. Aldous Huxley<\/a> \u2013creador del libro Un mundo feliz<\/a><\/em>\u2013 acusaba a Le Corbusier \u2013padre espiritual del Movimiento Moderno\u2013 de realizar una arquitectura fuera de todo valor humano, cuyo aspecto era m\u00e1s propio de \u201cuna consulta de dentista\u201d que de una vivienda.<\/p>\n

Pasados los a\u00f1os, no es ning\u00fan secreto que el car\u00e1cter hospitalario de la arquitectura moderna era una de sus m\u00e1ximas. La creencia y necesidad tras un principio de siglo XX plagado de enfermedades y malas condiciones de vida fruto de la industrializaci\u00f3n y la guerra que se necesitaba una nueva arquitectura que resolviera los males que aquejaban al ser humano era casi una doctrina.<\/p>\n

\n

\u201cLas paredes de vidrio, como los Rayos-X, son instrumentos de control. Del mismo modo que los rayos-x exponen el interior del cuerpo a la mirada p\u00fablica, la casa moderna expone su interior. Lo que antes era privado se somete ahora al escrutinio p\u00fablico\u201d.<\/em><\/p>\n

Beatriz Colomina<\/p>\n<\/blockquote>\n

Pero el siglo XX no s\u00f3lo vio nacer nuevas viviendas sociales \u2013donde exist\u00eda un proyecto de estado que cuidaba el cuerpo social\u2013 sino que vino acompa\u00f1ado de nuevas formas en la f\u00e1brica, la escuela o el hospital. Todos estos espacios asociados a modelos disciplinarios, donde la conducta y el cuerpo son observados y fijados por la mirada constante de un observador omnipresente. La arquitectura moderna \u2013con sus paredes de cristal\u2013 evolucion\u00f3 hasta convertirse en un dispositivo m\u00e9dico, cercana a una m\u00e1quina de rayos X<\/a>, que expon\u00eda en su totalidad al sujeto que la habitaba.<\/p>\n

\"Corredor<\/a>
Corredor del Sanatorio Paimio (1928-1933) de Alvar Aalto<\/span><\/figcaption><\/figure>\n
\n

\u201cLas cosas de cristal no tienen \u2018aura\u2019. El cristal es el enemigo del misterio, y lo es tambi\u00e9n de la propiedad\u201d.<\/em><\/p>\n

Walter Benjamin<\/p>\n

\u201cLa transparencia deshace todos los l\u00edmites y umbrales\u201d.<\/em><\/p>\n

Byung Chul Han<\/a>1<\/sup><\/p>\n<\/blockquote>\n

Su herencia puede estar en lo que el fil\u00f3sofo coreano-alem\u00e1n Byung Chul Han denomina Sociedad de la transparencia<\/em><\/a>: una sociedad que se exhibe y expone \u2013ya sea a trav\u00e9s de la arquitectura o las redes sociales como Facebook\u2013 en la que habitar ya no es posible.<\/p>\n

Han alude a Heidegger y apunta que ya no podemos \u201cestar en paz,\u201d lo que deriva en una sociedad llena de perturbaciones como \u201cel agotamiento, el cansancio o la depresi\u00f3n\u201d. Sentimientos nada lejanos a aquellos de los que se lamentaba la se\u00f1ora Farnsworth<\/a> sobre la casa de descanso que le hab\u00eda realizado Mies van der Rohe. Su queja apuntaba al estr\u00e9s de estar en constante exposici\u00f3n, de vivir en \u201cuna radiograf\u00eda\u201d donde no se pod\u00eda esconder ni ocultar. Pero el fil\u00f3sofo apunta, adem\u00e1s, otro aspecto: la arquitectura moderna y su modelo disciplinario \u2013establecido por Foucault en los psiqui\u00e1tricos o las c\u00e1rceles\u2013 ha sido sustituida por una nueva arquitectura, la de \u201cgimnasios, torres de oficinas, bancos, aviones, grandes centros comerciales y laboratorios gen\u00e9ticos\u201d que nos llevan a una sociedad del rendimiento, donde el cuerpo se (auto) explota y (auto)consume2<\/sup>.<\/p>\n

Resulta pues parad\u00f3jico que aquella arquitectura cuyo objeto era la mejora del cuerpo f\u00edsico acabara por alterar el cuerpo ps\u00edquico. Habr\u00e1 que preguntarse entonces c\u00f3mo conseguir una nueva ciudad y una nueva arquitectura que sea capaz de, por lo menos, alterar la vida para mal lo menos posible.<\/p>\n

\"Biblioteca
Biblioteca Municipal de Viipuri (1927-1934) de Alvar Aalto<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nciudad de m\u00e9xico. agosto 2015<\/p>\n

Notas:<\/h6>\n

1<\/sup>. Sobre esto mismo Han apunta tambi\u00e9n que a la sociedad de la transparencia <\/em>le resulta sospechoso todo aquel que tiene algo que ocultar. Pensemos entonces en los nuevos m\u00e9todos de vigilancia y escaneo de aeropuertos y otras redes de transporte. Ocultarse, nos dice Han, es negativo y resulta peligroso.<\/p>\n

2<\/sup>. V\u00e9ase tambi\u00e9n la exposici\u00f3n Indisposici\u00f3n general. Ensayo sobre la fatiga<\/em><\/a>, comisariada por Mart\u00ed Peran para Fabra i Coats Centre d\u2019Art Contemporani en Barcelona.<\/p>\n

https:\/\/veredes.es\/blog\/del-cansancio-ii-pedro-hernandez\/[:en]<\/p>\n

Violence White<\/em> is the name of an exhibition realized in the frame of the artistic project 1 Month \/ 1 Artist<\/em>, a small space located in the Historical Center of city of Mexico. Realized by the Japanese artist Seiko Yamamoto<\/a> this work departs from the modern architecture as leitmotiv.<\/em><\/p>\n

His it initiated it is simple, Yamamoto takes the predominantly white color that it was characterizing to this architecture – that had in his origin purely utilitarian criteria linked to the hygiene and the health – to establish a critique towards the sensitive impersonal and small thing that turns out to be this type of spaces. The Japanese artist resorts to his own biography to question the still in force values:<\/p>\n

\n

\u201cIn [Senri Nueva City] – the city where there grew the artist constructed of zero in 1970 of agreement modern values – I can feel not even the smell that a human being generates\u201d.<\/em><\/p>\n<\/blockquote>\n

\"Sanatorio<\/a>
Paimio Sanatorium (1928-1933) by Alvar Aalto<\/span><\/figcaption><\/figure>\n

Alejandro Hern\u00e1ndez G\u00e1lvez was exposing in Arquine<\/a> how there was questioning this architectural enclosed model in his own epoch. Aldous Huxley<\/a> \u2013creator of the book A happy World<\/em><\/a>\u2013 was accusing to Le Corbusier \u2013spiritual father of the Modern Movement\u2013 of realizing an architecture out of any human value, which aspect was more own of \u201ca dentist’s consultation\u201d that of a housing.<\/p>\n

Spent the years, it is not any secret that the hospitable character of the modern architecture was one of his maxims. The belief and need after a beginning of 20th century riddled with diseases and bad living conditions fruit of the industrialization and the war that one needed a new architecture that was solving the males who were afflicting the human being was an almost a doctrine.<\/p>\n

\n

\u201cThe glass walls, as the Rayos-X, are instruments of control. In the same way that the beams – x expose the interior of the body to the public look, the modern house exposes his interior. What before was deprived surrenders now to the public scrutiny\u201d.<\/em><\/p>\n

Beatriz Colomina<\/p>\n<\/blockquote>\n

But the 20th century not only saw new social housings were born – where there existed a project of condition that was taking care of the social body – but wine accompanied of new forms in the factory, the school or the hospital. All these spaces associated with disciplinary models, where the conduct and the body are observed and fixed by the constant look of an omnipresent observer. The modern architecture – with his walls of crystal – evolved up to turning into a medical device, near to a machine of X-rays<\/a>, which was exhibiting in its entirety to the subject that he her was living.<\/p>\n

\"Corredor<\/a>
Corridor of the Paimio Sanatorium (1928-1933) by Alvar Aalto<\/span><\/figcaption><\/figure>\n
\n

\u201cThe things crystals do not have ‘aura’. The crystal is the enemy of the mystery, and it it is also of the property\u201d.<\/em><\/p>\n

Walter Benjamin<\/p>\n

\u201cThe transparency undoes all the limits and thresholds\u201d.<\/em><\/p>\n

Byung Chul Han<\/a>1<\/sup><\/p>\n<\/blockquote>\n

His inheritance can be in what the philosopher Korean-German Byung Chul Han names Society of the transparency<\/em><\/a>: a company that shows itself and exhibits – already it is across the architecture or the social networks as Facebook – in which living already is not possible.<\/p>\n

They have it alludes to Heidegger and aims that already we cannot \u201cbe in peace\u201d, what derives in a company full of disturbances as \u201cthe depletion, the weariness or the depression\u201d. Not distant at all feelings to those about which the lady Farnsworth was complaining <\/a>on the house of rest that it had realized Mies van der Rohe. His complaint was pointing at the stress of being in constant exhibition, of living in \u201ca X-ray photography\u201d where it was possible neither to hide nor conceal. But the philosopher aims, in addition, at another aspect: the modern architecture and his model disciplinary – established by Foucault in the psychiatric ones or the jails – has been replaced with a new architecture, that of \u201cgymnasia, towers of offices, banks, planes, big malls and genetic laboratories\u201d that take us to a company of the performance, where the body (auto) exploits and (auto) consumes2<\/sup>.<\/p>\n

It turns out so paradoxical that that architecture which object was the improvement of the physical body was ending for altering the psychic body. There will be necessary to ask then how to obtain a new city and a new architecture that is capable of, at least, altering the life for badly as little as possible.<\/p>\n

\"Biblioteca<\/a>
Biblioteca Municipal de Viipuri (1927-1934) de Alvar Aalto<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 architect
\nciudad de m\u00e9xico. augusto2015<\/p>\n

Notes:<\/p>\n

1<\/sup>. On this itself They Have it aims also that to the society of the transparency<\/em> him turns out to be suspicious everything that one that has something that to conceal. Let’s think then about the new methods of vigilance and scanning of airports and other networks of transport. To hide itself, he says to us Han, it is negative and turns out to be dangerous.<\/p>\n

2<\/sup>. See also the exhibition Indisposici\u00f3n general. Ensayo sobre la fatiga<\/em>, curated by Mart\u00ed Peran for Fabra i Coats Centre d\u2019Art Contemporani in Barcelona.<\/p>\n

[:gl]<\/p>\n

Violencia branca<\/em> \u00e9 o nome dunha exposici\u00f3n realizada no marco do proxecto art\u00edstico 1 Mes \/ 1 Artista<\/em>, un pequeno espazo situado no Centro Hist\u00f3rico de cidade de M\u00e9xico. Realizada pola artista xaponesa Seiko Yamamoto<\/a> esta obra parte da arquitectura moderna como leitmotiv<\/em>.<\/p>\n

O seu iniciou \u00e9 sinxelo, Yamamoto toma a cor predominantemente branco que caracterizaba a esta arquitectura \u2013que ti\u00f1a na s\u00faa orixe criterios puramente utilitarios vinculados \u00e1 hixiene e a salubridade\u2013 para establecer unha cr\u00edtica cara ao impersonal e pouco sensible que resulta este tipo de espazos. A artista xaponesa recorre \u00e1 s\u00faa propia biograf\u00eda para cuestionar os valores a\u00ednda vixentes:<\/p>\n

\n

\u201cEn [Senri Nova Cidade] \u2013a cidade onde creceu a artista, constru\u00edda de cero en 1970 de acordo a valores modernos\u2013 non podo sentir nin o cheiro que xera un ser humano\u201d.<\/em><\/p>\n<\/blockquote>\n

\"Sanatorio<\/a>
Sanatorio Paimio (1928-1933) de Alvar Aalto<\/span><\/figcaption><\/figure>\n

Alejandro Hern\u00e1ndez G\u00e1lvez expo\u00f1\u00eda en Arquine<\/a> como se cuestionaba este modelo arquitect\u00f3nico mesmo na s\u00faa propia \u00e9poca. Aldous Huxley<\/a> \u2013creador do libro Un mundo feliz<\/a><\/em>\u2013 acusaba a Lle Corbusier \u2013pai espiritual do Movemento Moderno\u2013 de realizar unha arquitectura f\u00f3ra de todo valor humano, cuxo aspecto era m\u00e1is propio de ?unha consulta de dentista? que dunha vivenda.<\/p>\n

Pasados os anos, non \u00e9 ning\u00fan segredo que o car\u00e1cter hospitalario da arquitectura moderna era unha das s\u00faas m\u00e1ximas. A crenza e necesidade tras un principio de s\u00e9culo XX infestado de enfermidades e malas condici\u00f3ns de vida froito da industrializaci\u00f3n e a guerra que se necesitaba unha nova arquitectura que resolvese os males que afectaban ao ser humano era case unha doutrina.<\/p>\n

\n

\u201cAs paredes de vidro, como os Raios-X, son instrumentos de control. Do mesmo xeito que os raios-x expo\u00f1en o interior do corpo \u00e1 mirada p\u00fablica, a casa moderna exp\u00f3n o seu interior. O que antes era privado som\u00e9tese agora ao escrutinio p\u00fablico\u201d.<\/em><\/p>\n

Beatriz Colomina<\/p>\n<\/blockquote>\n

Pero o s\u00e9culo XX non s\u00f3 viu nacer novas vivendas sociais \u2013onde exist\u00eda un proxecto de estado que coidaba o corpo social\u2013 sen\u00f3n que veu acompa\u00f1ado de novas formas na f\u00e1brica, a escola ou o hospital. Todos estes espazos asociados a modelos disciplinarios, onde a conduta e o corpo son observados e fixados pola mirada constante dun observador omnipresente. A arquitectura moderna \u2013coas s\u00faas paredes de cristal\u2013 evolucionou ata converterse nun dispositivo m\u00e9dico, pr\u00f3xima a unha m\u00e1quina de raios X<\/a>, que expo\u00f1\u00eda na s\u00faa totalidade ao suxeito que a habitaba.<\/p>\n

\"Corredor<\/a>
Corredor do Sanatorio Paimio (1928-1933) de Alvar Aalto<\/span><\/figcaption><\/figure>\n
\n

\u201cAs cousas de cristal non te\u00f1en \u2018aura\u2019. O cristal \u00e9 o inimigo do misterio, e o \u00e9 tam\u00e9n da propiedade\u201d.<\/em><\/p>\n

Walter Benjamin<\/p>\n

\u201cA transparencia desfai todos os l\u00edmites e limiares\u201d.<\/em><\/p>\n

Byung Chul Han<\/a>1<\/sup><\/p>\n<\/blockquote>\n

A s\u00faa herdanza pode estar no que o fil\u00f3sofo coreano-alem\u00e1n Byung Chul Han denomina Sociedade da transparencia<\/em><\/a>: unha sociedade que se exhibe e exp\u00f3n \u2013xa sexa a trav\u00e9s da arquitectura ou as redes sociais como Facebook\u2013 na que habitar xa non \u00e9 posible.<\/p>\n

Han alude a Heidegger e apunta que xa non podemos \u201cestar en paz,\u201d o que deriva nunha sociedade chea de perturbaci\u00f3ns como \u201co esgotamento, o cansazo ou a depresi\u00f3n\u201d. Sentimentos nada afastados a aqueles dos que se lamentaba a se\u00f1ora Farnsworth<\/a> sobre a casa de descanso que lle realizaba Mies van der Rohe. A s\u00faa queixa apuntaba \u00e1 tensi\u00f3n de estar en constante exposici\u00f3n, de vivir en \u201cunha radiograf\u00eda\u201d onde non se pod\u00eda esconder nin ocultar. Pero o fil\u00f3sofo apunta, ademais, outro aspecto: a arquitectura moderna e o seu modelo disciplinario \u201cestablecido por Foucault nos psiqui\u00e1tricos ou os c\u00e1rceres\u201d foi substitu\u00edda por unha nova arquitectura, a de \u201cximnasios, torres de oficinas, bancos, avi\u00f3ns, grandes centros comerciais e laboratorios xen\u00e9ticos\u201d que nos levan a unha sociedade do rendemento, onde o corpo se (auto) explota e (auto)consome2<\/sup>.<\/p>\n

Resulta pois paradoxal que aquela arquitectura cuxo obxecto era a mellora do corpo f\u00edsico acabase por alterar o corpo ps\u00edquico. Haber\u00e1 que preguntarse ent\u00f3n como conseguir unha nova cidade e unha nova arquitectura que sexa capaz de, polo menos, alterar a vida para mal o menos posible.<\/p>\n

\"Biblioteca<\/a>
Biblioteca Municipal de Viipuri (1927-1934) de Alvar Aalto<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\ncidade de m\u00e9xico. agosto 2015<\/p>\n

Notas:<\/p>\n

1<\/sup>. Sobre isto mesmo Han apunta tam\u00e9n que \u00e1 sociedade da transparencia<\/em> res\u00faltalle sospeitoso todo aquel que ten algo que ocultar. Pensemos ent\u00f3n nos novos m\u00e9todos de vixilancia e escaneo de aeroportos e outras redes de transporte. Ocultarse, dinos Han, \u00e9 negativo e resulta perigoso.<\/p>\n

2<\/sup>. Vease tam\u00e9n a exposici\u00f3n Indisposici\u00f3n xeral. Ensaio sobre a fatiga<\/em>, comisariada por Mart\u00ed Peran para Fabra i Coats Centre d?Art Contemporani en Barcelona.<\/p>\n

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

[:es] Violencia blanca es el nombre de una exposici\u00f3n realizada en el marco del proyecto art\u00edstico 1 Mes \/ 1 Artista, un peque\u00f1o espacio ubicado en el Centro Hist\u00f3rico de ciudad de M\u00e9xico. Realizada por la artista japonesa Seiko Yamamoto esta obra parte de la arquitectura moderna como leitmotiv. Su inici\u00f3 es sencillo, Yamamoto toma […]<\/p>\n","protected":false},"author":36,"featured_media":59367,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[12390,6713,102,3214,147,12449,155,5096,12391,580,5786,5785,659,785,6964,12392,865,898,1152,4444,12389,1363,8599],"class_list":["post-59361","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-aldous-huxley","tag-alejandro-hernandez-galvez","tag-alvar-aalto","tag-arquine","tag-arquitectura-moderna","tag-arte","tag-arte-contemporaneo","tag-beatriz-colomina","tag-byung-chul-han","tag-filosofia","tag-filosofo","tag-gilles-deleuze","tag-habitar","tag-le-corbusier","tag-martin-heidegger","tag-michel-foucault","tag-mies-van-der-rohe","tag-movimiento-moderno","tag-red-social","tag-s-xx","tag-seiko-yamamoto","tag-vivienda-social","tag-walter-benjamin"],"yoast_head":"\n[:es]Del cansancio (I) | Landa Hern\u00e1ndez Mart\u00ednez[:en]Of the weariness (I) | Pedro Hern\u00e1ndez [:gl]Do cansazo (I) | Pedro Hern\u00e1ndez [:] - 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