{"id":54266,"guid":{"rendered":"https:\/\/graf.cat\/?post_type=event&p=54266"},"modified":"2026-02-02T16:34:09","modified_gmt":"2026-02-02T14:34:09","slug":"el-cocoliche-en-la-epopeya-formas-en-la-inmadurez-entre-buenos-aires-y-barcelona-1932-2025-2","status":"publish","type":"event","link":"https:\/\/graf.cat\/en\/events\/event\/el-cocoliche-en-la-epopeya-formas-en-la-inmadurez-entre-buenos-aires-y-barcelona-1932-2025-2\/","title":{"rendered":"El cocoliche en la epopeya. Formes en la immaduresa entre Buenos Aires i Barcelona 1932\u20132025"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":195,"featured_media":54465,"template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"event-venues":[837],"event-tags":[],"class_list":["post-54266","event","type-event","status-publish","has-post-thumbnail","hentry","event-venue-ex","event-category-exposicio"],"acf":{"title_ca":"El cocoliche en la epopeya. Formes en la immaduresa entre Buenos Aires i Barcelona 1932\u20132025","title_es":"El cocoliche en la epopeya. Formas en la inmadurez entre Buenos Aires y Barcelona 1932-2025","title_en":"El cocoliche en la epopeya. Forms of Immaturity between Buenos Aires and Barcelona, 1932\u20132025","desc_ca":"Obres i arxius de: Rosita de la Plata- Batato Barea- Oca\u00f1a- Roberto Jacoby-<\/span>Jorge Gumier Maier- Jaume Clotet- Paul Grodhues- Julien Antoine- Jorge Bergara Leuman- Rosa Codina- <\/span>Marcia Schwartz- <\/span>Camilo Lorenzo- Llu\u00eds Masriera- Jean Marais.<\/span>\r\n

Es torna al circ buscant alleujament davant la crisi i la guerra, i es torna al circ per generar h\u00e0bits, una norma pr\u00f2pia, una disciplina autogestiva: fer all\u00f2 que els altres no poden fer per\u00f2 volen veure capgirat. A banda del circ que va recuperar la primera avantguarda a Europa, existeix el circ desolat i provinci\u00e0 que va abra\u00e7ar la classe mitjana argentina als anys quaranta i cinquanta: el circ crioll, una versi\u00f3 carregada de localisme i representacions.<\/p>\r\n

La hist\u00f2ria comen\u00e7a amb Rosita de la Plata, una amazona argentina famosa arreu del m\u00f3n, que va connectar ciutats, sobretot Barcelona i Buenos Aires. La seva seducci\u00f3 a la pista i la seva performativitat de g\u00e8nere ambigua la van situar com a part d\u2019hist\u00f2ries, mites i refer\u00e8ncies. La seva figura tenyeix la hist\u00f2ria del circ, la fa estranya, i alhora instaura que la carpa va ser, des del segle XIX, l\u2019\u00fanic espai \u2014juntament amb el carnaval\u2014 per capgirar un m\u00f3n.<\/p>\r\n

L\u2019exposici\u00f3 comen\u00e7a pel circ, perqu\u00e8 \u00e9s all\u00e0 on es gestiona la immaduresa, i perqu\u00e8 \u00e9s all\u00e0 on es van formar el riure, el ball, l\u2019esport i l\u2019equilibri\/desequilibri. Davant la pregunta de quines formes i quins materials contenen millor la immaduresa, tamb\u00e9 es pot pensar qui va triar sostenir-la com un consolat de vida: ells s\u00f3n el pallasso, l\u2019\u00e0ngel i el mag, la vella i l\u2019amazona.<\/p>\r\n

El projecte presenta alguns artistes i algunes hist\u00f2ries, treballant aquests car\u00e0cters a partir de les imatges, entre Barcelona i Buenos Aires, on el circ torna d\u2019alguna manera, o on hi ha necessitat de circ. Es pregunta per qu\u00e8 continuar pensant-lo, m\u00e9s com a m\u00e8tode o manual, lluny del tema, i tra\u00e7a una l\u00ednia entre artistes que van tornar al pallasso, com un anti-pallasso, a les formes de l\u2019\u00e0ngel, la maga i la vella, des de la d\u00e8cada dels trenta fins avui.<\/p>","desc_es":"Obras y archivos de: Rosita de la Plata- Batato Barea- Oca\u00f1a- Roberto Jacoby-<\/span>Jorge Gumier Maier- Jaume Clotet- Paul Grodhues- Julien Antoine- Jorge Bergara Leuman- Rosa Codina- <\/span>Marcia Schwartz- <\/span>Camilo Lorenzo- Llu\u00eds Masriera- Jean Marais.<\/span>\r\n\r\nSe vuelve al circo buscando alivio de la crisis y de la guerra, y se vuelve al circo para generar h\u00e1bitos, una norma propia, disciplina autogestiva: hacer lo que otros no pueden hacer pero quieren ver invertido. Aparte del circo que recuper\u00f3 la primera vanguardia en Europa, existe el desolado y provinciano que abraz\u00f3 la clase media argentina en los a\u00f1os 40 y 50, que es el circo criollo, versi\u00f3n repleta de localismo y representaciones.<\/span>\r\n\r\nLa historia parte con Rosita de la Plata, una ecuyere argentina famosa en todo el mundo, que conect\u00f3 ciudades, sobre todo Barcelona y Buenos Aires. Su seducci\u00f3n en la pista y su dudosa performatividad de g\u00e9nero la ubicaron como parte de historias, mitos y referencias. Su figura ti\u00f1e la historia del circo, la enrarece, y a la vez instaura que la carpa fue desde el siglo XIX, el \u00fanico espacio junto al carnaval, para dar vuelta un mundo.\u00a0<\/span>\r\n\r\nLa exposici\u00f3n empieza por el circo, porque ah\u00ed se gestiona la inmadurez, y porque ah\u00ed es donde se form\u00f3 la risa, el baile, el deporte y el equilibrio\/desequilibrio. A la pregunta de qu\u00e9 formas y qu\u00e9 materiales contienen mejor la inmadurez, tambi\u00e9n se puede pensar quienes eligieron sostenerla como un consulado de vida: ellos son el clown, el \u00e1ngel y el mago, la vieja y la amazona.\u00a0<\/span>\r\n\r\nEl proyecto presenta algunos artistas y algunas historias, trabajando estos caracteres desde las im\u00e1genes, entre Barcelona y Buenos Aires, donde el circo vuelve de alg\u00fan modo, o donde hay <\/span>necesidad de circo.<\/span><\/i> Se pregunta para qu\u00e9 seguir pens\u00e1ndolo, m\u00e1s como m\u00e9todo o manual, lejos del tema y hace una l\u00ednea entre artistas que volvieron al clown, como un anti-clown, a las formas del \u00e1ngel, la maga y la vieja, entre la d\u00e9cada del 30 y hoy.\u00a0<\/span>\r\n\r\n ","desc_en":"Works and archives by: Rosita de la Plata- Batato Barea- Oca\u00f1a- Roberto Jacoby-<\/span>Jorge Gumier Maier- Jaume Clotet- Paul Grodhues- Julien Antoine- Jorge Bergara Leuman- Rosa Codina- <\/span>Marcia Schwartz- <\/span>Camilo Lorenzo- Llu\u00eds Masriera- Jean Marais.<\/span><\/strong>\r\n

One returns to the circus seeking relief from crisis and war, and one returns to the circus to generate habits, a rule of one\u2019s own, a self-managed discipline: doing what others cannot do but want to see turned upside down. Apart from the circus reclaimed by the European avant-garde, there exists the desolate and provincial circus embraced by the Argentine middle class in the 1940s and 1950s: the circo criollo<\/em>, a version steeped in localism and representation.<\/p>\r\n

The story begins with Rosita de la Plata, an Argentine equestrienne famous worldwide, who connected cities\u2014especially Barcelona and Buenos Aires. Her seduction in the ring and her ambiguous gender performativity placed her within histories, myths, and references. Her figure tints the history of the circus, renders it strange, and at the same time establishes that the big top has been, since the nineteenth century, the only space\u2014alongside carnival\u2014capable of turning the world upside down.<\/p>\r\n

The exhibition begins with the circus because it is there that immaturity is managed, and because it is there that laughter, dance, sport, and balance\/imbalance were formed. Faced with the question of which forms and materials best contain immaturity, one can also think about those who chose to sustain it as a life consulate: they are the clown, the angel and the magician, the old woman and the amazon.<\/p>\r\n

The project presents certain artists and stories, working with these figures through images, between Barcelona and Buenos Aires, where the circus returns in some way, or where there is a need for the circus. It asks why to continue thinking about it\u2014not so much as a theme, but as a method or manual\u2014and draws a line between artists who returned to the clown, as an anti-clown, and to the forms of the angel, the sorceress, and the old woman, from the 1930s to today.<\/p>","event_category":103,"event_show_only_own_date":true,"_event_free":true,"_event_price-min":"","_event_price-max":"","_event_web_ca":"https:\/\/www.instagram.com\/ilove.exs\/","_event_web_es":"https:\/\/www.instagram.com\/ilove.exs\/","_event_web_en":"https:\/\/www.instagram.com\/ilove.exs\/","event_contact_email":"","event_apply_email":"","is_online_event":false,"is_art_nou_event":false,"is_bgw_event":false,"date_text":"","register_deadline":null,"altres_organitzadors":""},"abe_event_venue":"EX","abe_event_category":"Exposici\u00f3","start":"2026-01-31 00:00:00","end":"2026-03-21 23:59:00","schedule":"once","schedule_meta":"","frequency":1,"all_day":1,"until":"2026-01-31 00:00:00","include":[],"exclude":[],"_links":{"self":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/54266","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events"}],"about":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/users\/195"}],"occurrences":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/events\/54266\/occurrences"}],"acf:term":[{"embeddable":true,"taxonomy":"event-category","href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-category\/103"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media\/54465"}],"wp:attachment":[{"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/media?parent=54266"}],"wp:term":[{"taxonomy":"event-venue","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-venues?post=54266"},{"taxonomy":"event-tag","embeddable":true,"href":"https:\/\/graf.cat\/en\/wp-json\/wp\/v2\/event-tags?post=54266"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}