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DAVID
YMBERNON creació
i realització: David Ymbernon L'APERITIU
ÉS A TAULA! o IMBER SACRA NON TIBI Els espectadors, àdhuc els més avesats a les malvestats escenogràfiques, hi seran maltractats pel distanciament brechtià que allunya aquesta peça de totes les convencions del gènere melodramàtic, el qual, als camerinos, allà on no entra la mirada del públic, demostrarà que és una degeneració de la tragèdia grega que, en aquest cas, s'anirà dissipant com si tota la nit se l'hagués passada empassant-se sifons i prenent un bany de multituds rere un altre. Així, gràcies a l'efecte V del mestre alemany encastat al melic d'en Pitarra, la dissipació s'estendrà pel pati de butaques fins al punt que, mort el cuc, els rierols de semen poden arribar a córrer Born enllà. Tot plegat fóra possible si no fos per la seva impossibilitat immanent.En comptes, doncs, de ser baquetejada, la concurrència, aclaparada perla seva pròpia passivitat, hi serà aplaudida a fi que hi siguiprolongada una representació que de seguida esdevindrà una presentació d'efectes especials, entre els quals hi haurà el de la nit dissipada amunt esmentada i uns altres de ben qualificables de fregolisme de cuina i menjador, tothora al marge de qualsevol gènere degenerat per l'efectisme B (de bellugadissa). I ho titllareu de pudent, i li direu: nidorós, fètid, corromput, podrit, fetorós, pestilent, pestilencial, mefític, infecte, malmès, pudós, pútid, virós! I tampoc no és pas exactament això. Perquè mirareu sense veure enlloc la causa de l'efectivitat perversa que farà que tot hi sigui transformat en allò que no és. Més ben dit, allò que no és es convertirà en tot i llavors hi serà reduït a un joc de mans embadalidor, a una metàfora enorme que remetrà a totes les metonímies que ens agredeixen durant tota la vida, aquest anar tirant tan quotidià, tan farcit d'àpats per culpa de l'obligació d'haver de mastegar i d'alçar el colze sense parar. Vet aquí el rerafons melodramàtic d'aquesta òpera per a gourmets dels sifons, amb el benentès que, de la metafísica gastronòmica, tothom n'és pastura, si més no als riuots i rierols semàntics del seny d'havent fet pa i trago.
______ david
ymbernon was born in Igualada on 5 August 1972. He showed his work
in public for the first time when he was 4 (1976) contributing to
an exhibition in his home town. In 1979 he was run over by a transport
lorry. When he was 8 (1980)he was awarded second prize in a quick
painting competition. In 1989 he entered the Escola d'Arts i Oficis
of Tàrrega and took a course in painting. After two years he
moved to Tàrrega. In 1990 is chosen by the Mostra d'Art "Kunst
der Jungen Katalonies" (Art of the young Catalans) organized
by the Generalitat de Catalunya in Rastatt (Germany). That very same
year he won the Premi Especial de la Direcció General de la
Joventut de la Generalitat de Catalunya in the IX Concurs d'Art Juvenil
(young artists competition). Until then he had participated in several
exhibitions 4 of which were solo: in Capellades "flor-floreta
florida" (1989), in Igualada (1990) and two of them in Tàrrega
"Interiors i Persones" and "Interiors-Exteriors-Situacions"
(1993). He was also awarded on several occasions during that time.
In 1993 he did his first play called Tabotja, in which the first oranges
appeared. From then onwards the artist began a long relationship with
this fruit and colour, present in all the works of David Ymbernon.
In 1994 he founded with some colleagues the group Els Nois del Panís.
With them he co-wrote and performed the play Encens de Dadà,
awarded with la Millor Creació (the best creation) in the XIII
Mostra de Teatre Jove organized by Generalitat de Catalunya. The play
appeared in the XIVth Fira del Teatre al Carrer de Tàrrega
with great success among the audience. He invented and founded the
first virtual village in the world: New Tool, a village with a population
of 500 people not recognized in political terms and with no physical
space. It is ruled by him and the photographer Valentín Vegara.
Three emblematic institutions represent New Tool; ONE: the MACONT
Contemporary Art Museum - opened on 18th July 1996 in the middle of
great confusion among the press; TWO: The Mobile Room -a wooden cube
of two meters specially designed as an moving exhibition space. It
was presented on 7th December 1996 in front of Museu d'Art Contemporani
de Barcelona arriving by towing truck; and THREE: a football team
-presented on 20th July 1996 in Sta. Coloma de Gramenet. The team
is well-known because they always play in the opponent´s position.
He finally moved to Barcelona with Elisabet Augé and mounted
his first exhibition in the city at the Galeria Beaskoa (1995). In
1996 he exhibited at Galeria del Passatge (Igualada) and did an installation:
"Victòria Ataronjada" at Galeria Expoart (Girona).
On the 8th of September he played the I Trofeu Poble de New Tool (a
painting made by Alícia Duran) against the veterans of U.E.Tàrrega
football team. On 13 November he took part in a conference-action
presenting, together with Valentín Vegara and Elisabet Augé,
the New Tool Contemporary Art Museum in the Círculo de Bellas
Artes in Madrid. In 1997 inaugurated at the Galeria Àngela
Rodeja (Barcelona) the exhibition "Quadres dins de Quadres":
one or several artists, depending on the painting, were invited to
paint a blank space on a piece of canvas which had been already painted
so as to represent itself as an original painting within the main
painting. He took part in the Col·lecció Testimoni de
"La Caixa" . He was asked by R.B.A. Revistes to present
a folder of lithographs entitled: Sèrie: Saló de la
Casa de Latung La La. In 1999 participated in the exhibition "Fons
d'art del Museu d'Art Contemporani de New Tool" which took place
in an apartment on Aribau street in Barcelona. The Mobile Room was
also taken there. Some other artists were also involved, such as Josep
Guinovart, Antoni Tàpies. Likewise, there were some anonymous
pieces of art bought in the Encants Vells market and a spoon bought
in a souvenir shop in Lloret de Mar. Furthermore, he was awarded with
the Premi Nacional d'Accions Artístiques for the action "Bona
Cuina". As a result of this action he created Poesia Plàstica
Visual Culinària, presented at Malic theatre in Barcelona together
with Carles Hac Mor and Carles Sales. The play was performed afterwards
at Teatreneu theatre, at Sala Abaixadors Deu (within the festival
Barcelona Poesia organized by Ajuntament de Barcelona), at the I Festival
de Fotografia i Art Visual Fotòpsia de Castellbisbal (2000)
and at the Teatre Municipal de l'Escorxador in Lleida (2001). The
play has been performed occasionally by well-known artists such as
Marc Martinez, Josep Guinovart and Carles Canut. He mounted the exhibition
"Espai en Blanc" at the Museu Comarcal de l'Urgell (Tàrrega).
He took part in the exhibition "MINI" at the Galeria Kunst
Factor in Berlín. In 2000 participated in "off-potlatch",
the fourth theme season at the Galeria Palma XII dedicated to the
sense of taste (Vilafranca del Penedès). He presented his new
performance: LATUNG LA LA pilot-cuiner at Sala Abaixadors Deu (Barcelona)
and at Cal Ble (2001, Igualada). In 2001,on the 17th of June, he played
the II Trofeu Poble de New Tool (the book Viatge a La LLuna by Cyrano
de Bergerac) against R.C.D. Espanyol women's football team at Pau
Negre in Montjuïc (Barcelona). He participated in the performance
Tempo in the Centre de Cultura Contemporània de Barcelona CCCB
and exhibited at Galeria Esther Montoriol (Barcelona).
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