{"id":20699,"date":"2024-10-14T09:55:02","date_gmt":"2024-10-14T07:55:02","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=20699"},"modified":"2024-10-14T09:56:12","modified_gmt":"2024-10-14T07:56:12","slug":"juan-manuel-bonet-una-vida-viscuda","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/juan-manuel-bonet-una-vida-viscuda\/","title":{"rendered":"Juan Manuel Bonet, una vida viscuda"},"content":{"rendered":"

Juan Manuel Bonet, una vida viscuda<\/h1>\n
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Juan Manuel Bonet. \/ Foto cedida per Fernando Castillo<\/figcaption><\/figure>\n

Llic\u00e8ncia Creative Commons<\/a><\/p>\n

\"\"<\/strong><\/p>\n

 <\/p>\n

Fernando Castillo<\/strong><\/p>\n

 <\/p>\n

No hi ha res m\u00e9s dif\u00edcil que escriure sobre alg\u00fa proper i no caure en l’elogi desmesurat, sobretot quan a l’afecte i l’afinitat electiva que sost\u00e9 l’amistat s’hi afegeix l’admiraci\u00f3 objectiva. Tot i aix\u00f2, hi ha casos en qu\u00e8 cal sucumbir a la recomanaci\u00f3 d’Eugenio d’Ors<\/strong>, sempre l’inevitable d’Ors, el nostre Oscar Wilde<\/strong>, i, parafrasejant-lo, avisar que, si als museus s\u2019hi va a admirar, en aquest article s’hi elogia. Dit aix\u00f2, \u00e9s hora d\u2019anunciar que el personatge \u00e9s Juan Manuel Bonet, nascut a Par\u00eds, de mare francesa i traductora de Paul Morand, i que sol ser presentat com a cr\u00edtic d’art, comissari d’exposicions i poeta, unes ocupacions que, tot i d\u00e9u n\u2019hi do com s\u00f3n d\u2019exactes, sempre m’han semblat insuficients per definir alg\u00fa que a m\u00e9s de fer literatura de tot, \u00e9s un referent al m\u00f3n de l’art i dels museus espanyols de l’\u00faltim mig segle.<\/strong> Lliurat des de la seva joventut a les llistes i als diccionaris, el m\u00e8tode boneti\u00e0 \u00e9s inseparable de la fitxa, que en el seu cas \u00e9s, m\u00e9s que no un m\u00e8tode, gaireb\u00e9 un concepte que apareix a la seva obra escrita, a les seves exposicions o als seus infinits articles de diaris i revistes, o a les semblances necrol\u00f2giques, que s\u00f3n una excusa per fer un microassaig del personatge i el seu entorn des de les p\u00e0gines abeced\u00e0ries.<\/p>\n

Els seus interessos s\u00f3n tan variats com entrella\u00e7ats a manera de troques de cireres, de manera que a tots els que coneixem el personatge i la seva obra \u2013tan extensa que \u00e9s impossible reproduir-ne ni una part en un text com aquest\u2013 amb prou feines ens sorpr\u00e8n. A Juan Manuel Bonet hi ha erudici\u00f3, s’ha repetit cont\u00ednuament, per\u00f2 sobretot hi ha una modernitat que el porta, en un proc\u00e9s d’anada i tornada, de les avantguardes hist\u00f2riques a l’art actual, de la poesia a la fotografia, de la pertinen\u00e7a al sevill\u00e0 i ara recuperat Equipo M\u00faltiple<\/em> amb Quico Rivas -durant heroics anys setanta quan exercia de preco\u00e7 cr\u00edtic d’art a les p\u00e0gines d’El Correo de Andaluc\u00eda,<\/em> que dirigia el seu pare, el recordat Antonio Bonet Correa-<\/strong>, a dirigir l’IVAM donant un segell a la instituci\u00f3, que va repetir quan va estar al capdavant del MNCARS, que ha tingut fortuna. Tot amb el denominador essencial del llibre en forma d’una biblioteca grandiosa que \u00e9s veritablement una obra en marxa, doncs resumeix els seus interessos alhora que se\u2019n serveix de font. Gr\u00e0cies a JMB, l\u2019injuriat paper \u2013els llibres, revistes, gravats i sobretot cartells\u2013 la poc apreciada fotografia, el menyspreat fotomuntatge, la il\u00b7lustraci\u00f3, les escenografies, les firmes \u2013les conegudes i les que ho eren una mica menys\u2013 de la avantguarda espanyola, europea i americana, van entrar als museus espanyols gr\u00e0cies al seu impuls.<\/p>\n

S\u00f3n desenes els \u00e0mbits de treball i d’activitat de JMB, per\u00f2 res com la recuperaci\u00f3 de l’avantguarda espanyola<\/em><\/strong>, a la qual va contribuir decisivament juntament amb Jaime Brihuega, Valeriano Bozal, Eugenio Carmona <\/strong>i Juan P\u00e9rez de Ayala<\/strong>, una orquestra imprescindible per con\u00e8ixer l’art espanyol de l’Edat de Plata, i m\u00e9s enll\u00e0.<\/p>\n

Sobre aix\u00f2 no nom\u00e9s cal citar el seu imprescindible \u2018Diccionario de las vanguardias en Espa\u00f1a\u2019<\/em>, sin\u00f3 tamb\u00e9, i \u00e9s una opci\u00f3 personal\u00edssima, com totes les esmentades, el mod\u00e8lic \u2018Alicante moderno\u2019<\/em>, una obra que hauria de tenir la seva continu\u00eftat en totes i cadascuna de les prov\u00edncies espanyoles, o el text dedicat als pintors que escriuen i als escriptors que pinten a \u2018El poeta como artista\u2019<\/em>, i la petita joia que suposa el seu text per al cat\u00e0leg de l’exposici\u00f3 a Guillemo de Osma La pintura del 27<\/em>. En aquest aspecte cal assenyalar que el menyspreu de l’autor cap a all\u00f2 que ha escrit \u00e9s proverbial, ja que una part essencial de la seva obra \u00e9s la formada pels pr\u00f2legs, les confer\u00e8ncies i els textos dels cat\u00e0legs d’exposicions. Entre les dedicades a artistes que li resulten especialment propers caldria assenyalar Jos\u00e9 Guerrero, Helmut Federle, Morandi, Manolo Millares, \u00c0lex Katz, Ramon Gaya, Oramas, D\u00edaz Caneja, Bernard Plossu, Tarsila do Amaral\u2026<\/em><\/strong> I \u00e9s que JMB ha destacat amb mirada privilegiada i textos imprescindibles a nombrosos artistes espanyols de la seva generaci\u00f3 que formen una n\u00f2mina infinita d\u2019entre els quals en sobresurten Miguel \u00c1ngel Campano, Albacete, Dis Berl\u00edn, Llu\u00eds Palmer, Charris, Sicre, Pelayo Ortega, Dami\u00e1n Flores, Galano, Mesquita, Aquerreta\u2026.<\/em><\/strong> Sense oblidar, seria imperdonable, el seu lliurament a Erik Satie<\/em><\/strong> o a Morton Feldman<\/em><\/strong>, dues refer\u00e8ncies a la seva po\u00e8tica, com ho \u00e9s tamb\u00e9 el poeta peru\u00e0 Jos\u00e9 Mar\u00eda Eguren<\/em><\/strong>. Totes aquestes contribucions formen una obra dispersa, la consulta i la reuni\u00f3 de la qual \u00e9s un repte per als que en el futur escriguin sobre Juan Manuel Bonet.<\/p>\n

Els centres de JMB s\u00f3n molts, variats i sobretot inseparables de la vida i obra. Primer, Sevilla de formaci\u00f3, de l’Equipo<\/strong> M\u00faltiple<\/strong>, de Cansinos Assens i Lasso de la Vega<\/em><\/strong>; despr\u00e9s un Lugo ancestral i ultraista, del seu oncle avi Evaristo Correa Calder\u00f3n i Ronsel<\/em><\/strong>. Despr\u00e9s, Madrid, essencial i ramoni\u00e0, de Buades<\/em><\/strong>, de les Entregas de la Ventura<\/em><\/strong>, d’Estaci\u00f3n<\/em><\/strong> Central<\/em><\/strong>, del MNCARS<\/em><\/strong> i de l’Instituto<\/em><\/strong> Cervantes<\/strong> o del seu ABC<\/strong>, a qui \u00e9s fidel des de fa decennis; la Val\u00e8ncia de l’IVAM i l’Alacant daurat del segle passat; la propera Lisboa d’Almada Negreiros<\/em><\/strong>; Cracovia<\/em><\/strong>, poesia i entorn familiar; Buenos Aires i sobretot Montevideo, dos focus rioplatencs als quals sucumbeix; m\u00e9s tard, Rio de Janeiro i Sao Paulo, porta d’entrada a la seva passi\u00f3 brasilera. Per\u00f2 tamb\u00e9 la seva Par\u00eds natal, on hi torna com a director de l’Instituto<\/em> Cervantes<\/em><\/strong>, lliurat a Cort\u00e1zar i a Rayuela<\/strong>, a Modiano<\/strong> i a la Ocupaci\u00f3n<\/strong>, una m\u00e9s de les passions compartides, a la pres\u00e8ncia espanyola a la ciutat, a l’exili, al seu Valery Larbaud, a Henri Michaux, al seu proper Xavier Valls<\/strong>… I \u00e9s que des de fa d\u00e8cades Juan Manuel Bonet ha ensenyat a viatjar i mirar ciutats en aquest model de diari, en realitat molt m\u00e9s que aix\u00f2, que \u00e9s La ronda de los d\u00edas<\/strong>. Un extraordinari llibret en octava<\/em> que des de fa m\u00e9s de tres d\u00e8cades ha servit a molts d’inspiraci\u00f3 i model. Unes ciutats que s\u00f3n al centre de la seva poesia, que \u00e9s tamb\u00e9 literatura viatgera, com mostren els seus t\u00edtols Caf\u00e9 des exil\u00e9s<\/em>, Praga<\/em>, Postales<\/em>, Polonia-Noche<\/em> o el per mi molt proper Nord-Sud<\/em>. En fi, aquest \u00e9s, extractat com el substanci\u00f3s Bovril, Juan Manuel Bonet.<\/p>\n

\n

Font:\u00a0educational EVIDENCE<\/strong><\/p>\n

Drets:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Juan Manuel Bonet, una vida viscuda Llic\u00e8ncia Creative Commons   Fernando Castillo   No hi ha res m\u00e9s dif\u00edcil que escriure sobre alg\u00fa proper i no caure en l’elogi desmesurat, sobretot quan a l’afecte i l’afinitat electiva que sost\u00e9 l’amistat s’hi afegeix l’admiraci\u00f3 objectiva. Tot i aix\u00f2, hi ha casos en qu\u00e8 cal sucumbir a […]<\/p>\n","protected":false},"author":4,"featured_media":20636,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[232],"tags":[1250,1919,1899,1918],"class_list":["post-20699","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanitats","tag-art","tag-avantguarda-espanyola","tag-juan-manuel-bonet-ca","tag-museus-espanyols"],"yoast_head":"\nJuan Manuel Bonet, una vida viscuda - Educational Evidence<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/educationalevidence.com\/ca\/juan-manuel-bonet-una-vida-viscuda\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Juan Manuel Bonet, una vida viscuda - Educational Evidence\" \/>\n<meta property=\"og:description\" content=\"Juan Manuel Bonet, una vida viscuda Llic\u00e8ncia Creative Commons   Fernando Castillo   No hi ha res m\u00e9s dif\u00edcil que escriure sobre alg\u00fa proper i no caure en l’elogi desmesurat, sobretot quan a l’afecte i l’afinitat electiva que sost\u00e9 l’amistat s’hi afegeix l’admiraci\u00f3 objectiva. 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