{"id":12720,"date":"2019-10-09T11:09:47","date_gmt":"2019-10-09T09:09:47","guid":{"rendered":"https:\/\/www.restaurantestevet.com\/?p=12720"},"modified":"2019-10-06T11:10:19","modified_gmt":"2019-10-06T09:10:19","slug":"fundacio-tapies-ariella-aisha-azoulay-errata","status":"publish","type":"post","link":"https:\/\/www.restaurantestevet.com\/en\/fundacio-tapies-ariella-aisha-azoulay-errata\/","title":{"rendered":"Fundaci\u00f3 Tapies: Ariella A\u00efsha Azoulay. Errata."},"content":{"rendered":"\n

Los ocho proyectos de Ariella A\u00efsha Azoulay mostrados en la exposici\u00f3n Errata<\/em> forman parte de una tentativa de intervenir en la gram\u00e1tica imperial de los archivos fotogr\u00e1ficos, de interferir en el conocimiento imperial impreso en libros, de desaprender las estructuras imperiales como fait accompli<\/em> y de se\u00f1alar los or\u00edgenes imperiales de numerosos gestos heredados por acad\u00e9micos, artistas, fot\u00f3grafos y conservadores de museos que los utilizan en sus pr\u00e1cticas.<\/h4>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Esta exposici\u00f3n consiste en una serie de \u201censayos\u201d en modos no-imperiales de cultura archiv\u00edstica y en la reparaci\u00f3n de errores (impresos) en el contexto del final de la Segunda Guerra Mundial, la destrucci\u00f3n de Palestina y otros proyectos coloniales. La fotograf\u00eda se utiliza aqu\u00ed como parte de una \u201chistoria potencial\u201d, una forma de desaprender los h\u00e1bitos y gestos imperiales mediante los que los ciudadanos de cuerpos pol\u00edticos gobernados de manera diferente han sido formados para ocupar la privilegiada posici\u00f3n de expertos \u2013en fotograf\u00eda, arte, pol\u00edtica y en el discurso de los derechos humanos\u2013 y para explorar la dif\u00edcil situaci\u00f3n de los otros, fosilizada en objetos, libros y documentos, que se ven obligados a soportar papeles secundarios y subordinados.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

La cultura archiv\u00edstica imperial se afirma en su capacidad no tanto para leer como para saber c\u00f3mo leer y utilizar los textos relevantes como convincentes documentos de autoridad, independientemente del grado de maltrato y destrucci\u00f3n que su producci\u00f3n ha causado y su uso continuado conlleva. Esta cultura de las pruebas documentales parte de la premisa de la sacralizaci\u00f3n de los objetos, que quedan sellados en el pasado y pasan a ser considerados \u201chist\u00f3ricos\u201d, releg\u00e1ndonos a un papel de lectores exteriores, espectadores e int\u00e9rpretes. En el proyecto titulado Errata<\/em> es una tentativa de ejercer la negaci\u00f3n de esta sacralidad y enmendar algunos de los errores secundarios o sustanciales en esos documentos. Libros, documentos e im\u00e1genes no se entienden aqu\u00ed como objetos finales, sellados, que est\u00e1n abiertos a m\u00faltiples interpretaciones siempre que estas reafirmen el intocable estatus de esos objetos como \u00edtems hist\u00f3ricos que \u201cdeben ser preservados\u201d. Por contra, mediante intervenciones textuales y visuales, que incluyen el borrado, el reemplazo, la yuxtaposici\u00f3n, la suma y la resta, el estatus intocable de los objetos de conocimiento \u2013libros, documentos y obras de arte\u2013 es aqu\u00ed cuestionado.<\/p>\n\n\n\n

La nueva pel\u00edcula de Azoulay\u00a0Un-documented: Undoing Imperial Plunder<\/em>\u00a0parte de la premisa del derecho a intervenir y revertir el conocimiento imperial. Es una tentativa de hacer coincidir los dos reg\u00edmenes que el imperialismo pretende mantener separados: el tratamiento de objetos (como \u201cbien documentados\u201d) y el maltrato de personas (como \u201cindocumentadas\u201d). Centr\u00e1ndose en los objetos expoliados en los museos de Europa y escuchando las peticiones de asilo de esas gentes para entrar en pa\u00edses de esa zona, sus anteriores potencias colonizadoras, la pel\u00edcula defiende la idea de que sus derechos est\u00e1n inscritos en esos objetos, que fueron conservados y bien documentados todos estos a\u00f1os.<\/p>\n\n\n\n

FECHAS<\/strong> 11.10.2019\u00a0\u2013\u00a012.01.2020<\/p>\n\n\n\n

COCOMISARIOS<\/strong>: Ariella A\u00efsha Azoulay y Carles Guerra<\/p>\n","protected":false},"excerpt":{"rendered":"

Los ocho proyectos de Ariella A\u00efsha Azoulay mostrados en la exposici\u00f3n Errata forman parte de una tentativa de intervenir en la gram\u00e1tica imperial de los archivos fotogr\u00e1ficos, de interferir en el conocimiento imperial impreso en libros, de desaprender las estructuras imperiales como fait accompli y de se\u00f1alar los or\u00edgenes imperiales de numerosos gestos heredados por acad\u00e9micos, artistas, fot\u00f3grafos y […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","inline_featured_image":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[],"class_list":["post-12720","post","type-post","status-publish","format-standard","hentry","category-cultura"],"yoast_head":"\nFundaci\u00f3 Tapies: Ariella A\u00efsha Azoulay. 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