{"id":35802,"date":"2026-06-11T08:37:18","date_gmt":"2026-06-11T06:37:18","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=35802"},"modified":"2026-06-11T08:37:29","modified_gmt":"2026-06-11T06:37:29","slug":"pere-sousa-i-la-conspiracio-afectiva-del-mail-art","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/pere-sousa-i-la-conspiracio-afectiva-del-mail-art\/","title":{"rendered":"Pere Sousa i la conspiraci\u00f3 afectiva del mail art"},"content":{"rendered":"

Imatge de mail\u00a0art\u00a0creada mitjan\u00e7ant IA.<\/p>\n

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Llic\u00e8ncia Creative Commons<\/a>
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Cesc Fortuny i Fabr\u00e9<\/strong><\/p>\n

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Resulta curi\u00f3s que alg\u00fa que va criticar amb tanta duresa alguns mecanismes interns de l’art postal acab\u00e9s convertit en un dels seus principals referents a Espanya. Potser precisament per aix\u00f2 el seu treball s’antulla tan honest, perqu\u00e8 Pere Sousa<\/strong> entenia que tota pr\u00e0ctica art\u00edstica alternativa corre el risc de convertir-se amb el temps, en una lit\u00fargia burocr\u00e0tica plena d’etiquetes, noms m\u00e9s o menys consagrats i una superviv\u00e8ncia fruit de la in\u00e8rcia. Durant els anys noranta va dirigir la m\u00edtica revesteixi P.O.BOX<\/em>, considerada una publicaci\u00f3 fonamental per a comprendre el desenvolupament del mail\u00a0art<\/em>\u00a0espanyo<\/strong>l, al mateix temps que va impulsar la Factoria\u00a0Merz\u00a0Mail<\/strong>, una plataforma des de la qual va organitzar trobades, publicacions i projectes relacionats amb la poesia experimental i les avantguardes hist\u00f2riques.<\/p>\n

Parlar de Pere Sousa implica acostar-se a una figura que, encara que mai va practicar l’aparadorisme en l’art contemporani espanyol, s\u00ed que va deixar una petjada influent en territoris que floreixen molt allunyats dels focus institucionals, all\u00ed on la creaci\u00f3 encara conserva molt d’intercanvi hum\u00e0 i una mica de conspiraci\u00f3 amistosa. Sousa, nascut a Pont de Suert el 1955 i mort el 2023, va dedicar gran part de la seva vida al mail art<\/em>, la poesia fon\u00e8tica, el collage i l’agitaci\u00f3 cultural, disciplines que a les seves mans van deixar de semblar compartiments separats i van comen\u00e7ar a funcionar com un mateix tentacle subversiu.<\/p>\n

La seva traject\u00f2ria no encaixa del tot en la imatge rom\u00e0ntica de l’artista tancat en el seu taller. De fet, Sousa semblava molt m\u00e9s interessat a crear xarxes que a fabricar-se un prestigi. Mentre d’ altres perseguien galeries, ell impulsava correspond\u00e8ncies internacionals, editava revistes fotocopiades, recopilava arxius impossibles i convertia la r\u00e0dio lliure en un espai d’experimentaci\u00f3 sonora. Durant anys va conduir programes a R\u00e0dio Pica<\/em><\/strong> especialitzats en poesia fon\u00e8tica i art experimental, activitats que complementava amb la web Merzmail<\/em><\/strong>, un arxiu immens i una cosa ca\u00f2tica que va funcionar com a \u00e0gora per a artistes de mig m\u00f3n.<\/p>\n

En realitat, bona part del valor del seu treball t\u00e9 a veure amb aquesta insist\u00e8ncia gaireb\u00e9 arqueol\u00f2gica a conservar i compartir materials que, d’una altra manera, haurien acabat oblidats en caixes florides o arxivats en discos durs. El fons documental que va donar al MACBA<\/strong> va n\u00e9ixer precisament de d\u00e8cades d’intercanvi postal amb artistes internacionals, fet que avui pot semblar gaireb\u00e9 ex\u00f2tic, especialment en una \u00e8poca en la qual l’obligat\u00f2ria comunicaci\u00f3 instant\u00e0nia ha convertit qualsevol espera en una agressi\u00f3 psicol\u00f2gica insuportable.<\/p>\n

Sousa defensava el mail\u00a0art<\/em> com una pr\u00e0ctica basada en el contacte f\u00edsic i en la circulaci\u00f3 material de les obres, ra\u00f3 per la qual mirava amb escepticisme certes adaptacions digitals del g\u00e8nere. Quan li preguntaven si el correu electr\u00f2nic podia considerar-se art postal, responia que no era exactament el mateix, perqu\u00e8 el sistema digital eliminava bona part de l’experi\u00e8ncia material i col\u00b7laborativa que definia hist\u00f2ricament aquest tipus de creaci\u00f3. Aix\u00ed i tot, tampoc adoptava una postura purista del tot tancada, ja que reconeixia que mentre hi hagu\u00e9s persones conven\u00e7udes d’estar fent mail art<\/em>, el moviment continuaria existint sota noves formes.<\/p>\n

Aquest equilibri entre radicalitat i flexibilitat apareix constantment en el seu recorregut. Encara que va estudiar Belles Arts i escultura a Barcelona, va abandonar aviat la via acad\u00e8mica tradicional per a moure’s en espais molt m\u00e9s h\u00edbrids, on convivien\u00a0performances, poesia sonora, collages,\u00a0fanzines\u00a0i accions improvisades. Va ser tamb\u00e9 un profund estudi\u00f3s del treball de l’artista\u00a0Kurt\u00a0Schwitters<\/strong>, la influ\u00e8ncia del qual travessa gran part del seu treball. Les seves interpretacions del poema sonor\u00a0Ursonate<\/em> van arribar a considerar-se entre les millors realitzades en l’\u00e0mbit hisp\u00e0nic, fet que no deixa de tenir m\u00e8rit si considerem que recitar poesia fon\u00e8tica dadaista durant d\u00e8cades exigeix un combinat for\u00e7a peculiar de disciplina, obsessi\u00f3 i si se’m permet fins i tot de resist\u00e8ncia al rid\u00edcul social.<\/p>\n

Els qui ho van con\u00e8ixer solen descriure-ho com alg\u00fa capa\u00e7 de moure’s amb naturalitat entre la divulgaci\u00f3 i la creaci\u00f3, sense establir jerarquies massa r\u00edgides entre ambdues. Aquesta actitud probablement explica per qu\u00e8 la seva figura apareix vinculada a tants projectes col\u00b7lectius, des de trobades d’editors independents fins a festivals d’acci\u00f3 po\u00e8tica o espais d’improvisaci\u00f3 com el\u00a0Kabaret\u00a0Obert<\/strong>\u00a0al costat del pioner de la\u00a0polipoes\u00eda\u00a0a Catalunya Xavier Sabater<\/strong> o al\u00a0performer\u00a0Joan\u00a0Casellas<\/strong>\u00a0entre altres i que va estar actiu entre 2002 i 2008.<\/p>\n

Tamb\u00e9 resulta significativa la manera en qu\u00e8 va afrontar la malaltia. Un c\u00e0ncer de pulm\u00f3 li va arrabassar la veu durant els \u00faltims anys de la seva vida, encara que no va aconseguir minvar la seva capacitat per a continuar treballant. Lluny de retirar-se, va intensificar la seva producci\u00f3 de collages tant en format f\u00edsic com digital. En certa manera, aquell despla\u00e7ament des de l’oralitat cap a la imatge semblava coherent amb tota la seva traject\u00f2ria, perqu\u00e8 Sousa sempre va entendre l’art com una xarxa de circulaci\u00f3 cont\u00ednua m\u00e9s que com un objecte r\u00edgid.<\/p>\n

Potser per aix\u00f2 el seu llegat continua resultant rellevant. No perqu\u00e8 invent\u00e9s una gran teoria ni perqu\u00e8 aconsegu\u00eds la fama, sin\u00f3 perqu\u00e8 va dedicar la seva vida a sostenir ecosistemes culturals fr\u00e0gils que gaireb\u00e9 mai generen beneficis econ\u00f2mics ni grans titulars. I aix\u00f2, encara que el mercat de l’art prefereixi fingir el contrari, constitueix una forma molt seriosa de resist\u00e8ncia cultural. Perqu\u00e8 mentre mig m\u00f3n intenta convertir-se en marca personal, Sousa va continuar defensant una cosa tan antiquada com la comunitat art\u00edstica entesa literalment com a comunitat<\/em>.<\/strong> Un gest que avui, entre algorismes, autopromoci\u00f3 compulsiva i perfils acuradament optimitzats, t\u00e9 molt de subversiu.<\/p>\n

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

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

Resulta curi\u00f3s que alg\u00fa que va criticar amb tanta duresa alguns mecanismes interns de l’art postal acab\u00e9s convertit en un dels seus principals referents a Espanya. 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