{"id":28430,"date":"2023-05-11T07:41:54","date_gmt":"2023-05-11T05:41:54","guid":{"rendered":"http:\/\/www.noucicle.org\/lhora\/?p=28430"},"modified":"2023-05-11T08:17:20","modified_gmt":"2023-05-11T06:17:20","slug":"raimon-obiols-lapunt-del-dia-113-poder-sense-art-2","status":"publish","type":"post","link":"https:\/\/www.noucicle.org\/lhora\/raimon-obiols-lapunt-del-dia-113-poder-sense-art-2\/","title":{"rendered":"Raimon Obiols: L\u2019apunt del dia\/113 (Poder sense art, 2)"},"content":{"rendered":"\n<p>A Par\u00eds, el <strong>17<\/strong> de febrer de <strong>1960<\/strong>, el general <strong>de Gaulle<\/strong> i l\u2019escriptor <strong>Andr\u00e9 Malraux<\/strong>, aleshores ministre d&#8217;Afers Culturals, van donar la benvinguda a una delegaci\u00f3 peruana i van assistir, a l&#8217;Op\u00e9ra Garnier, a una representaci\u00f3 de <em>Daphnis et Chlo\u00e9<\/em>, el ballet de <strong>Maurice Ravel<\/strong>, amb<strong> <\/strong>decorats i vestits<strong> <\/strong>del pintor <strong>Marc Chagall<\/strong>.&nbsp;<\/p>\n\n\n\n<p>El ministre, poc interessat en la funci\u00f3, es va entretenir mirant les pintures de <strong>Jules Lenepveu<\/strong>, molt acad\u00e8miques, en el sostre de la gran sala.  Les trob\u00e0 tristes i va tenir una idea. A l&#8217;entreacte, <strong>Malraux<\/strong> (en\u00e8rgic, de decisions repentines) propos\u00e0 a <strong>Chagall<\/strong> que pint\u00e9s un nou plaf\u00f3 que cobr\u00eds l\u2019obra de <strong>Lenepveu<\/strong>. La iniciativa del ministre va fer not\u00edcia (recordo que arrib\u00e0 a Barcelona) i cre\u00e0 pol\u00e8mica. El nou plaf\u00f3 de <strong>Chagall<\/strong> va ser instal\u00b7lat el <strong>1964<\/strong>, cobrint les pintures de <strong>1872<\/strong>.&nbsp;<\/p>\n\n\n\n<p>Aleshores a la setantena, <strong>Chagall<\/strong> no va pintar el plaf\u00f3 (com havia fet remugant <strong>Miquel \u00c0ngel<\/strong> -\u00ab<em>I\u2019ho gi\u00e0 fatto un gozzo in questo stento<\/em>\u00bb- a la Sixtina), sin\u00f3 una maqueta d&#8217;un metre quadrat i mig,&nbsp; que despr\u00e9s va ser ampliada&nbsp; a la&nbsp; mida final, de <strong>220 <\/strong>m\u00b2. El treball va ser realitzat&nbsp; per tres assistents del pintor <strong>(Roland Bierge<\/strong>, <strong>Jules Paschal<\/strong> i <strong>Paul<\/strong> <strong>Versteeg<\/strong>).&nbsp;<\/p>\n\n\n\n<p>Ara es parla a Par\u00eds de retirar les pintures de <strong>Chagall <\/strong>i restaurar les originals de <strong>Lenepveu<\/strong>, que han sobreviscut&nbsp; quasi seixanta anys en la obscuritat. <a href=\"https:\/\/www.lefigaro.fr\/culture\/patrimoine\/faut-il-decrocher-le-plafond-de-chagalla-l-opera-garnier-20230407\">El tema \u00e9s als tribunals<\/a>.&nbsp; <br><\/p>\n\n\n\n<p>Aquesta hist\u00f2ria recorda  la de les pintures del Sal\u00f3 de Sant Jordi, per\u00f2 a l\u2019inrev\u00e9s. Encara que hi ha qui proposa \u00ab<em><a href=\"https:\/\/www.latribunedelart.com\/dechagallisons-l-opera?lang=fr\">deschagal\u00b7litzar<\/a><\/em>\u00bb l\u2019Opera, els dos plafons s\u00f3n bonics i mai haurien d\u2019haver entrat en col\u00b7lisi\u00f3. La conclusi\u00f3 que es despr\u00e8n d\u2019aquestes dues hist\u00f2ries, des del meu punt de vista,  \u00e9s la mateixa:&nbsp; des de fa temps, el poder pol\u00edtic  <a href=\"http:\/\/www.noucicle.org\/lhora\/raimon-obiols-lapunt-del-dia-87-poder-sense-art\/\">no t\u00e9 un art a disposici\u00f3<\/a> que compti amb les  tres condicions que es reunien en el passat:   concitar el consens dels cr\u00edtics, suscitar una acceptaci\u00f3 p\u00fablica, i aguantar el judici de futur. <br><\/p>\n\n\n\n<p>El futur compareix avui a Par\u00eds amb la intenci\u00f3 d\u2019abaixar-li els fums a <strong>Malraux<\/strong>, que en tenia molts (tot i que era  previsor: \u00ab<em>el nou plaf\u00f3 de <strong>Chagall<\/strong> \u00e9s a mig pam del de <strong>Lenepveu<\/strong>, subjectat per falques. Si d&#8217;aqu\u00ed a cinquanta anys volen  desmuntar <strong>Chagall<\/strong> per tornar al Segon Imperi, ho podran fer f\u00e0cilment<\/em>\u00bb, va deixar dit). <\/p>\n\n\n\n<p>A prop\u00f2sit d\u2019aquesta opini\u00f3 meva, un arquitecte que fa uns enfilalls a Twitter molt interessants (<strong><em><a href=\"https:\/\/twitter.com\/efemarq?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Efem\u00e8rides d\u2019arquitectura<\/a><\/em><\/strong>) va piular:&nbsp;<\/p>\n\n\n\n<p>\u00ab<em>No, <\/em><strong><em>@robiols<\/em><\/strong><em>, deixar les parets i voltes del Sal\u00f3 Sant Jordi nues no \u00e9s pq no tinguem art contemporani amb el qual vestir-les, \u00e9s pq s&#8217;est\u00e0 recuperant &#8216;arquitectura renaixentista original que feia <\/em><strong><em>Pere Blai<\/em><\/strong><em>: contrast bicrom\u00e0tic entre parets blanques i l\u00ednies terroses i daurades\u00bb<\/em>.<\/p>\n\n\n\n<p>Perfectament d\u2019acord: aquest contrast de  parets blanques i motllures de color \u00e9s de bell efecte i adient; \u00e9s una soluci\u00f3 austera, quasi monacal. Per\u00f2 em demano qu\u00e8 hauria succe\u00eft si,  no tenint a disposici\u00f3 aquest recurs elegant, hagu\u00e9s calgut substituir pintures per pintures. <br><\/p>\n\n\n\n<p>L\u2019arquitecte piulaire diu que tenim art contemporani a l\u2019abast per a substituir la parafern\u00e0lia  nacionalcat\u00f2lica que est\u00e0 sent retirada (per f\u00ed!) del Sal\u00f3 de Sant Jordi. En quin art deu pensar?\u00a0 Uns mir\u00f3s i t\u00e0pies vestint les parets, uns alfaros raconers,  probablement. Aix\u00f2 no ocultaria el fet que avui no existeixen, almenys al m\u00f3n occidental, ni un poder pol\u00edtic capa\u00e7 d&#8217;imposar un art determinat (per sort), ni un art actual a l\u2019abast del poder pol\u00edtic (per desgr\u00e0cia). No ens enganyem: qui decideix \u00e9s la combinaci\u00f3 ca\u00f2tica de  la especulaci\u00f3 financera i l\u2019entreteniment visual instantani. <br><\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3342.jpeg\" alt=\"\" class=\"wp-image-28433\" width=\"578\" height=\"570\" srcset=\"https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3342.jpeg 487w, https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3342-300x296.jpeg 300w\" sizes=\"auto, (max-width: 578px) 100vw, 578px\" \/><figcaption><strong>Jules-Eug\u00e8ne Lenepveu, projecte del plaf\u00f3 de l\u2019Op\u00e9ra Garnier, 1867 <\/strong><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3343.jpeg\" alt=\"\" class=\"wp-image-28434\" width=\"578\" height=\"577\" srcset=\"https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3343.jpeg 467w, https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3343-300x300.jpeg 300w, https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3343-150x150.jpeg 150w\" sizes=\"auto, (max-width: 578px) 100vw, 578px\" \/><figcaption><strong>El plaf\u00f3 de Marc Chagall  a l\u2019Op\u00e9ra Garnier (1964) <\/strong><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3347.jpeg\" alt=\"\" class=\"wp-image-28446\" width=\"584\" height=\"574\" srcset=\"https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3347.jpeg 800w, https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3347-300x295.jpeg 300w, https:\/\/www.noucicle.org\/lhora\/wp-content\/uploads\/2023\/05\/IMG_3347-768x756.jpeg 768w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\" \/><figcaption><strong>L\u2019abans i el despr\u00e9s del Sal\u00f3 de Sant Jordi<\/strong><\/figcaption><\/figure>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Par\u00eds, el 17 de febrer de 1960, el general de Gaulle i l\u2019escriptor Andr\u00e9 Malraux, aleshores ministre d&#8217;Afers Culturals, van donar la benvinguda a una delegaci\u00f3 peruana i van assistir, a l&#8217;Op\u00e9ra Garnier, a una representaci\u00f3 de Daphnis et Chlo\u00e9, el ballet de Maurice Ravel, amb decorats i vestits del pintor Marc Chagall.&nbsp; El &hellip;<\/p>\n","protected":false},"author":1,"featured_media":28456,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-28430","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general"],"_links":{"self":[{"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/posts\/28430","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/comments?post=28430"}],"version-history":[{"count":32,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/posts\/28430\/revisions"}],"predecessor-version":[{"id":28467,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/posts\/28430\/revisions\/28467"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/media\/28456"}],"wp:attachment":[{"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/media?parent=28430"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/categories?post=28430"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.noucicle.org\/lhora\/wp-json\/wp\/v2\/tags?post=28430"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}