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“VÍDEOARTE NO ES UNA OPCIÓN SEXUAL” Entrevista a Carles Congost

Carles Congost (Olot, 1970) és un dels artistes amb més projecció i coherència del panorama actual a l’estat espanyol. Utilitza el vídeo, la fotografia, la instal·lació i la música per articular el seu discurs artístic. Congost ironitza constantment sobre la cultura popular, el món de la creació artística, els mass media i l’adolescència. L’estètica dels seus treballs es nodreix directament dels productes més populars de l’actualitat: el vídeoclip, els còmics, la tv, etc. Carles Congost ha exposat les seves obres a nombroses galeries i museus nacionals i internacionals. La vinculació del seu treball amb la música és constant. En una de les seves obres més destacables, Un mystique determinado, l’artista col·labora amb el grup Astrud, que composa una banda sonora pel seu projecte. A més, Congost té la seva pròpia formació musical, The Congosound, amb dos àlbums editats.














P: Vídeoart, art conceptual, happenings, etc. Com
podem legitimar aquestes propostes que tan sovint són qüestionades? Com s’ubica Carles Congost dins aquest món cada cop més confós?

R: L'art té un problema de legitimitat en sí mateix. Actualment, té una molt mala ubicació dins la realitat. L'art ha estat molt important històricament però, en aquest moment, les activitats que tenen la finalitat de perllongar la història de l'art o una sèrie de preocupacions que han format part de l'art i no d'una altra matèria, estan molt qüestionades. Això té causes molt diverses, entre elles, la hibridació, els canvis en els formats, etc.
Cal fixar-se bé des de quin punt de vista es fa. Si es tracta de legitimar des del món de l'art, el nostre treball està plenament legitimat ja que funciona en uns esquemes i en un territori on es compleixen totes les convencions que l'art té marcat. El treball que fem està destinat a habitar museus, galeries, ser visitat per comissaris, etc. Està totalment integrat en aquest engranatge. Per tant, no es pot negar que és art i que som artistes perquè complim la funció d'artistes, malgrat la confusió.

P: Creus que caldria educar els ciutadans en aquest sentit? És important que quedi clara la diferència entre els diferents productes audiovisuals que es realitzen avui en dia?

R: El gran problema a l'hora d'entendre els treballs que fem la gent que ens dediquem a l'art és, en primer lloc, la hibridació de formats entre d'altres elements que causen confusió. En segon lloc, l'empenta que tenim molts de nosaltres per utilitzar diferents llenguatges i discursos, el que fa és intentar desmantellar, els esquemes imposats o que mediàticament o per educació tenim associats a l'art. Trobo que hi ha una molt mala educació perquè hi ha un gran “décalage” entre la vida de carrer i el món de l'art. Entenem perfectament que les comunicacions, l'oci, les tecnologies evolucionen d'una manera espectacular però, continuem entenent l'art com una relíquia. Ningú qüestiona el valor de segons quines manifestacions com poden ser les tradicions clàssiques de pintura, escultura, la galeria de cantonada, però, quan l'escultura fuig de la tarima, quan la pintura fuig del marc, és quan ens perdem i pensem, “bé, on està l'art” perquè perdem les referències del que tradicionalment legitima l'art, que finalment sembla ser la tarima i el marc.

P: Si haguessis de definir el missatge, la intenció general de la teva obra, com ho faries en poques paraules?

R: No crec en els missatges. No faig un treball amb un discurs concret. El missatge és molt ambigu i funciona de diferent manera en funció del context, de la persona que ho rep, etc. Porto 10 anys treballant en el món de l'art i mai s'han fet les mateixes lectures. La interpretació és totalment dependent de les circumstàncies contextuals. El significant és canviant. Sempre són diversos ingredients, és “aquest ingredient en aquest context”. Si que hi ha una intenció general però no es pot dir en una frase. És una suma d'intencions en tot cas.













P: Com replicaries aquelles crítiques que desprestigien creacions com les teves pel seu contingut aparentment baix, popular?


R: Ha estat recurrent cert discurs sobre l'art i la baixa cultura, però estem en un moment en què no crec que la preocupació sigui aquesta després de Warhol i tot el que ha passat després. No crec que sigui una qüestió d'alta o baixa cultura. Actualment, un tant per cent molt alt de les obres que es fan a les grans fires, no estan inspirades en grans idees ni en grans autors. Es busca trobar temes universals que puguin afectar a tots, que puguem entendre tots. Simplement ens referim al que ens envolta i, és clar, estem envoltats del que es pot considerar baixa cultura. A més, és prou clar que es poden dir grans coses de manera molt senzilla o referint-te a la cultura de carrer. Tot plegat és més una qüestió de connotacions. Molta gent es mou amb idees preestablertes en funció de les connotacions, i això segurament és degut a la mala educació en les art de què parlàvem abans. Volem portar una vida moderna però en canvi pensem en l'art d'una manera totalment antiga. Adjudiquem a l'art uns valors que no necessàriament ha de tenir. Hi ha molta gent que pensa en termes d'autenticitat. Per ells són molt més autèntics els 70 que els 80 i és més autèntic allò analògic que allò digital. Per mi, per exemple, els 80 són molt importants, crec que estan dotats d'una gran transcendència. Quan jo parlo dels 80, estic escenificant una sèrie de valors o conceptes que per mi són importants, els estic expandint. Parlo dels meus 80. Però justament aquest període provoca al·lèrgies en determinada gent. Estan considerats frívols. És molt diferent citar a Jimmy Hendrix que citar a Pet Shop Boys.

P: Quina metodologia de treball segueix un artista com tu? Cada projecte requereix actuacions diferents per part teva?

R: Evidentment, hi ha un paper creatiu, d'inspiració, però no acaba aquí. Avui en dia, l'artista contemporani està assumint una sèrie de rols que són novedosos i que fins ara pertanyien més a la indústria. Gran part de la meva ocupació són tasques de producció pura i dura. Un cop he tingut la idea, em dedico a això. Les meves fotografies i els meus vídeos no són gens espontanis, per tant, comporten una feina de producció considerable. Aquesta tasca sempre s'ha entès en el món del cinema, en el món de la publicitat i ara també cal entendre-la en el món de l'art, perquè ens movem en territoris comuns. A part de concebre, haig de tenir reunions i conciliar una sèrie de professionals que treballaran amb mi. Haig de garantir que es mantindrà l'esperit original del que jo volia crear. Aquest tipus de funcionament és força recent, jo no he rebut formació específica per això. Però això és el que toca als artistes d'avui dia.

P: Com has arribat a construir l’univers estilístic que et caracteritza? Quins són els teus referents?

R: Els meus referents tenen molt a veure amb el meu rol d'usuari. En el meu art són molt importants les connexions amb el moment, el context, el punt de vista individual, allò autobiogràfic, etc. El que jo desprenc, els meus referents més evidents s'acosten a allò que jo consumeixo: la música dels 80, elements televisius determinats, etc. Coses que em serveixen de base. No es tracta de parlar d'aquests referents, sinó com a estètica del que jo explicaré després. No parlo dels formats, parlo de coses molt més universals. Podria parlar del mateix amb una altra estètica. Utilitzo aquestes referències perquè són aquelles amb les que em sento segur, les que m'agraden i les que expressen el que vull dir. Podria donar noms concrets o artistes concrets, però, crec que més que això, es tracta d'un conjunt de coses certament englobades en una època, al voltant de la música pop, dels 80, que és el que a mi em va impactar en el seu moment i continuo consumint i pensant que m'aporta molt. Tampoc pretenc fer cap tipus de reivindicació de res. No pretenc seguir cap tipus d'ortodòxia.

P: Creus que les tendències artístiques van molt al compàs de la moda o d'altres interessos?

R: Crec que sí. De vegades intentem aïllar l'art com una cosa estàtica, una cosa de museu plena de ronya i l'art en sí no és més que l'expressió de la vida al món. Estem vivint en un moment en què conviuen diferents interessos. Abans, en l'art modern, una tendència eliminava l'altra. Ara no. Hi ha molts discursos de caràcter polític, social i, alhora, conviuen amb discursos que són totalment plàstics. Tot això és vàlid, i una situació normalitzada de l'art assumeix tots aquests discursos alhora. Una situació forçada, no normalitzada, que és semblant a la que vivim a Espanya assumeix un discurs per temporada i aquí està el problema, aquí estem excesivament sotmesos a la moda. L'art contemporani és un món força petit, que no és de l'interès de tothom però s'ha de saber veure amb globalitat. Intentar fer una versió espanyola de l'art contemporani és totalment ridícul. S'ha d'assumir que aquestes idees tan limitades estan en extinció. Ara bé, la figura de Picasso pesa molt i per molta gent és com una heretgia transgredir-la. La gent vol ser molt moderna i adoptar nens al Congo però a casa hi ha d'haver un florer en un marc.

P: Quin consell donaries a una persona que volgués començar a fer carrera en aquest sector?

R: Que llegeixi una mica, que s'informi i que es calmi perquè això és una trajectòria llarga. No és molt pràctic. Dóna moltes satisfaccions si te l'estimes i te la creus però no és fàcil. Toca anar a contracorrent i és complicat. Hi ha d'haver una ètica. Encara que des de fora puguem semblar uns estafadors i un oportunistes, has de tenir una ètica, creure en el que fas i tirar endavant.

P: Com et sents amb tot el que has fet fins ara? Cap a on s’ha de dirigir l’obra de Carles Congost?

R: No m'haig de panadir de res. Tot i que sempre es cometen errors. Penso que no tinc res a canviar. Han passat més de deu anys treballant i continuo tenint les mateixes ganes o més, i, a més, la total convicció en allò que faig i continuaré fent. Seguiré treballant deixant-me portar sense plantejar-me que és el que haig de fer en cada moment.

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