{"id":69542,"date":"2025-08-25T07:30:24","date_gmt":"2025-08-25T05:30:24","guid":{"rendered":"https:\/\/a-desk.org\/?p=69542"},"modified":"2026-03-02T12:33:34","modified_gmt":"2026-03-02T11:33:34","slug":"locas-de-les-politiques-culturals","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/","title":{"rendered":"L&#8217;oc\u00e0s de les pol\u00edtiques culturals"},"content":{"rendered":"<p>La cultura travessa avui una paradoxa. D&#8217;una banda, s&#8217;accelera el desmantellament de pol\u00edtiques culturals mitjan\u00e7ant retalls de fons p\u00fablics; de l&#8217;altra, es converteix en un camp de batalla entre una esquerra progressista \u2014que a l&#8217;extrem deriva en un<i> wokisme<\/i> repressiu\u2014 i una dreta conservadora \u2014que a l&#8217;extrem adopta un <i>alt-right <\/i>tecnol\u00f2gic\u2014. Tots dos pols busquen utilitzar la cultura per consolidar les seves ideologies, per\u00f2 les retallades provenen indistintament de governs d&#8217;un i altre signe.<\/p>\n<p>Com podem explicar aquesta situaci\u00f3 paradoxal sense haver de rec\u00f3rrer a les teories d&#8217;austeritat governamental? O com anar m\u00e9s enll\u00e0 de la cr\u00edtica a l&#8217;espectacularitzaci\u00f3 de les arts que determina que el futur econ\u00f2mic de les institucions culturals sigui aquell convertir-se en part de la ind\u00fastria privada de l&#8217;entreteniment?<\/p>\n<p>Si b\u00e9 la cr\u00edtica formulada per Debord (i desenvolupada per historiadores d&#8217;art, com Stallabras, Kleine-Benne, Bishop, Bourriand etc) \u00e9s \u00fatil per entendre perqu\u00e8 moltes exhibicions s\u00f3n concebudes com a \u201cexperi\u00e8ncies\u201d per al consum cultural i perqu\u00e8 el mercat d&#8217;art est\u00e0 cada cop m\u00e9s ple d&#8217;actors ingenus i especuladors; la cr\u00edtica debordsiana no t\u00e9 en compte una cosa m\u00e9s profunda: la p\u00e8rdua de la cultura en el nucli de la significaci\u00f3 pol\u00edtica.<\/p>\n<p>Aquesta significaci\u00f3 pol\u00edtica de la cultura persisteix, encara que avui es manifesta sobretot en gestos puntuals: L&#8217;esquerra liberal promou restitucions d&#8217;obres i exposicions cr\u00edtiques sobre la formaci\u00f3 de col\u00b7leccions, aplicant teories postcolonials per projectar una identitat cultural global d&#8217;acord amb expectatives (neo)liberals. La dreta, en canvi, busca refor\u00e7ar s\u00edmbols hist\u00f2rics nacionals mitjan\u00e7ant el suport a la difusi\u00f3 d&#8217;un art contemporani de segell nacional, utilitzant exposicions a museus, fires i altres espais de visibilitat local i internacional. Per\u00f2 tots dos ho fan de forma fragment\u00e0ria i utilit\u00e0ria.<\/p>\n<p>En paral\u00b7lel, pa\u00efsos com els Estats Units (que va desmantellar Voice of America) o Alemanya (el darrer govern verd-liberal del qual va tancar seus del Goethe-Institut) redueixen la infraestructura que sostenia aquestes pol\u00edtiques a llarg termini. Aquestes accions exercides des dels poders de l&#8217;executiu i amb anu\u00e8ncia del sistema legislatiu fan visible el desgast d&#8217;una relaci\u00f3 interna en qu\u00e8 art i la cultura eren instruments estrat\u00e8gics per als Estats, tant en pol\u00edtica interna com exterior. Aquest desgast implica la fi d&#8217;una hist\u00f2ria que cont\u00ednuament i sense interrupci\u00f3 s&#8217;havia desenvolupat els darrers dos segles.<\/p>\n<p>Durant el segle XIX, les exposicions internacionals es van convertir en plataformes perqu\u00e8 els pa\u00efsos mostressin no nom\u00e9s el seu poder industrial i tecnol\u00f2gic, sin\u00f3 tamb\u00e9 les produccions culturals i art\u00edstiques. Aquestes fires eren vitrines on les nacions constru\u00efen una imatge de la seva identitat nacional utilitzant l&#8217;art.<\/p>\n<p>Els governs seleccionaven amb cura les obres d&#8217;art, sovint organitzant comit\u00e8s nacionals que triaven el que representava millor els \u00e8xits est\u00e8tics i culturals de la regi\u00f3. Aix\u00f2 inclo\u00efa des de pintura i escultura fins a objectes decoratius i disseny artesanal. Tamb\u00e9 s&#8217;aprofitaven per promoure estils o tradicions locals, com ara l&#8217;\u00fas de materials espec\u00edfics, t\u00e8cniques regionals o motius culturals.<\/p>\n<div id=\"attachment_69572\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5134-551x400.jpeg\"><img aria-describedby=\"caption-attachment-69572\" decoding=\"async\" class=\"wp-image-69572 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5134.jpeg\" alt=\"\" width=\"1000\" height=\"726\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5134.jpeg 1000w, https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5134-551x400.jpeg 551w, https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5134-768x558.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/a><p id=\"caption-attachment-69572\" class=\"wp-caption-text\">Cartell de la primera exposici\u00f3 internacional d&#8217;arte de Venecia el 1895. Autor: Jean-Pierre Dalb\u00e9ra de Par\u00eds, Creative Commons<\/p><\/div>\n<p>La Biennal de Ven\u00e8cia \u00e9s una descendent directa de les exposicions universals del segle XIX i les exposicions internacionals d&#8217;art europees. La primera edici\u00f3 es va celebrar el 1895, sota el nom <i>de Prima Esposizione Internazionale d\u2019Arte di Venezia<\/i>, amb l&#8217;objectiu de revitalitzar l&#8217;atractiu cultural de Ven\u00e8cia.<\/p>\n<p>Al seu assaig \u201cLayers of Exhibition\u201d, els autors afirmen com la Biennal funcionava com un espai on les nacions negociaven la seva identitat cultural en un context internacional <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_69542_1('footnote_plugin_reference_69542_1_1');\" onkeypress=\"footnote_moveToReference_69542_1('footnote_plugin_reference_69542_1_1');\" ><sup id=\"footnote_plugin_tooltip_69542_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_69542_1_1\" class=\"footnote_tooltip\">Hossain, Annika; B\u00f3di, Kinga; Ghiu, Daria (2011): Layers of Exhibition. The Venice Biennale and Comparative Art Historical Writing. A: kunsttexte.de\/ostblick, N\u00ba 2, 2011, p\u00e0g. 1\u20136. Disponible a:&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_69542_1('footnote_plugin_reference_69542_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_69542_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_69542_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> utilitzant les din\u00e0miques de compet\u00e8ncia, pr\u00f2pies de les estructures capitalitzades del sistema art\u00edstic occidental.<\/p>\n<p>Durant la Guerra Freda, els governs \u2013incl\u00f2s el xin\u00e8s\u2013 van incrementar el seu inter\u00e8s i la inversi\u00f3 en art contemporani com a eina per ampliar la seva influ\u00e8ncia geopol\u00edtica i refor\u00e7ar la unitat nacional. Grans exposicions, com la Documenta, absorbien molts recursos p\u00fablics amb l&#8217;objectiu de projectar una nova imatge de l&#8217;Alemanya de postguerra.<\/p>\n<p>A nivell internacional, un dels casos m\u00e9s notoris va ser la promoci\u00f3 de l&#8217;expressionisme abstracte per part de la CIA, que el va utilitzar com a instrument de propaganda cultural per exhibir la supremacia de la llibertat creativa nord-americana davant del r\u00edgid i propagand\u00edstic realisme socialista sovi\u00e8tic. Tot i que l&#8217;ag\u00e8ncia no finan\u00e7ava directament els artistes, va canalitzar suports a trav\u00e9s d&#8217;organismes pantalla com el Congress for Cultural Freedom, recolzant exposicions internacionals, publicacions i cr\u00edtics afins a aquest corrent.<\/p>\n<p>A l&#8217;\u00e0lgida d\u00e8cada dels 70, la cultura i l&#8217;art van fer part integral de la diplom\u00e0cia interna. El recentment mort expresident Jimmy Carter va concebre la m\u00fasica com un <i>Soft Power<\/i> <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_69542_1('footnote_plugin_reference_69542_1_2');\" onkeypress=\"footnote_moveToReference_69542_1('footnote_plugin_reference_69542_1_2');\" ><sup id=\"footnote_plugin_tooltip_69542_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_69542_1_2\" class=\"footnote_tooltip\">El terme soft power va ser encunyat pel polit\u00f2leg nord-americ\u00e0 Joseph S. Nye, i el va definir com: \u201cla capacitat d&#8217;obtenir els resultats desitjats mitjan\u00e7ant l&#8217;atracci\u00f3 en lloc de&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_69542_1('footnote_plugin_reference_69542_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_69542_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_69542_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> capa\u00e7 d&#8217;unir el poble nord-americ\u00e0 m\u00e9s enll\u00e0 de les divisions socials, pol\u00edtiques i racials. Durant el seu mandat (1977\u20131981), Carter va obrir la Casa Blanca a una varietat de g\u00e8neres musicals, des de m\u00fasica cl\u00e0ssica i jazz fins a country, gospel i pop reflectint la seva intenci\u00f3 de representar la diversitat cultural del pa\u00eds.<\/p>\n<p>50 anys m\u00e9s tard ens trobem en un estat desequilibri que est\u00e0 enderrocant all\u00f2 que es considerava com una intr\u00ednseca relaci\u00f3 entre pol\u00edtica i cultura. Un oc\u00e0s que es va iniciar als vuitanta amb la marginalitzaci\u00f3 de les arts de les agendes pol\u00edtiques a trav\u00e9s d&#8217;un discurs que va emmarcar la cultura com a sector industrial.<\/p>\n<p>Aquesta erosi\u00f3 simult\u00e0nia del que \u00e9s pol\u00edtic i de la cultura ha convertit les ind\u00fastries culturals en un sistema que, lluny d&#8217;aportar estabilitat, consolida una precaritzaci\u00f3 estructural. Artistes i agents culturals queden atrapats en cicles breus de finan\u00e7ament que impossibiliten la planificaci\u00f3 a llarg termini i en redueixen el marge d&#8217;independ\u00e8ncia. Alhora, aquest model ha propiciat la concentraci\u00f3 dels escassos recursos p\u00fablics en uns quants actors i la conversi\u00f3 de fons comuns en beneficis privats, fomentant una corrupci\u00f3 de \u201ccoll blanc\u201d: curadors estatals que actuen com a assessors d&#8217;art per a col\u00b7leccions privades, membres de comit\u00e8s que \u201cdonen\u201d obres amb interessos creuats o que afavoreixen la compra d&#8217;obra d&#8217;artistes en les que mantenen participaci\u00f3 econ\u00f2mica.<\/p>\n<p>Tot i que el capital simb\u00f2lic de la cultura continua operant \u2014com evidencien els processos de gentrificaci\u00f3\u2014, el seu \u00fas com a simple gest per marcar posici\u00f3 ideol\u00f2gica ha generat decepci\u00f3 i r\u00e0bia entre els agents culturals, en convertir-los en protagonistes involuntaris de les paradoxes de la vida cultural contempor\u00e0nia. Som testimonis de l&#8217;expansi\u00f3 territorial de biennals i de la producci\u00f3 d&#8217;obres comissionades mentre escassegen els espais de vivenda i de feina; de peces que arriben a preus milionaris en un context de creixent pobresa; de processos de censura silenciosa i d&#8217;una burocr\u00e0cia que retarda pagaments b\u00e0sics; de restauracions medi\u00e0tiques que acaben en mans privades; i de museus que programen exposicions centrades en <i>influencers<\/i> i figures de l&#8217;entreteniment.<\/p>\n<p>[Imatge destacada: La sessi\u00f3 inaugural (i notablement ben finan\u00e7ad per la CIA) del Congress for Cultural Freedom a Berl\u00edn, 1950. Font: Original conservat a l&#8217;Special Collections Research Center, Biblioteca de la Universitat de Chicago, s\u00e8rie V, caixa 1, carpeta 1. ]<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_69542_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_69542_1();\">[<a id=\"footnote_reference_container_collapse_button_69542_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_69542_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_69542_1('footnote_plugin_tooltip_69542_1_1');\"><a id=\"footnote_plugin_reference_69542_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> Hossain, Annika; B\u00f3di, Kinga; Ghiu, Daria (2011): <i>Layers of Exhibition. The Venice Biennale and Comparative Art Historical Writing<\/i>. A: kunsttexte.de\/ostblick, N\u00ba 2, 2011, p\u00e0g. 1\u20136. Disponible a: <a href=\"http:\/\/www.kunsttexte.de\/ostblick\">www.kunsttexte.de\/ostblick<\/a> <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_69542_1('footnote_plugin_tooltip_69542_1_2');\"><a id=\"footnote_plugin_reference_69542_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\"> El terme <i>soft power <\/i>va ser encunyat pel polit\u00f2leg nord-americ\u00e0 Joseph S. Nye, i el va definir com: \u201cla capacitat d&#8217;obtenir els resultats desitjats mitjan\u00e7ant l&#8217;atracci\u00f3 en lloc de la coerci\u00f3 o el pagament\u201d. \u00c0rees com la diplom\u00e0cia cultural, les relacions internacionals, la marca pa\u00eds, l&#8217;art, el cinema, la moda i altres formes d&#8217;influ\u00e8ncia global no coercitiva s\u00f3n fonts d&#8217;atracci\u00f3 principals, efectives en la seducci\u00f3 de l&#8217;altre. Nye, Joseph S. (2017). <i>Soft power: the origins and political progress of a concept<\/i>. Palgrave Communications, 3, Article number: 17008.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_69542_1() { jQuery('#footnote_references_container_69542_1').show(); jQuery('#footnote_reference_container_collapse_button_69542_1').text('\u2212'); } function footnote_collapse_reference_container_69542_1() { jQuery('#footnote_references_container_69542_1').hide(); jQuery('#footnote_reference_container_collapse_button_69542_1').text('+'); } function footnote_expand_collapse_reference_container_69542_1() { if (jQuery('#footnote_references_container_69542_1').is(':hidden')) { footnote_expand_reference_container_69542_1(); } else { footnote_collapse_reference_container_69542_1(); } } function footnote_moveToReference_69542_1(p_str_TargetID) { footnote_expand_reference_container_69542_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_69542_1(p_str_TargetID) { footnote_expand_reference_container_69542_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>La cultura travessa avui una paradoxa. D&#8217;una banda, s&#8217;accelera el desmantellament de pol\u00edtiques culturals mitjan\u00e7ant retalls de fons p\u00fablics; de l&#8217;altra, es converteix en un camp de batalla entre una&#8230;<\/p>\n","protected":false},"author":2975,"featured_media":69568,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[7080],"tags":[7873,5627,7876,7885,7877,7886,7887,7888,6910,7883,7889,7884,7882],"coauthors":[7085],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Pol\u00edticas culturales<\/title>\n<meta name=\"description\" content=\"El ocaso de las pol\u00edticas culturales, marginadas de las agendas pol\u00edticas desde los 80 y enmarcadas sector industrial.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pol\u00edticas culturales\" \/>\n<meta property=\"og:description\" content=\"El ocaso de las pol\u00edticas culturales, marginadas de las agendas pol\u00edticas desde los 80 y enmarcadas sector industrial.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2025-08-25T05:30:24+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-02T11:33:34+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"372\" \/>\n\t<meta property=\"og:image:height\" content=\"500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jorge Sanguino\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Escrit per\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mar\u00eda Rioja\" \/>\n\t<meta name=\"twitter:label2\" content=\"Temps estimat de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minuts\" \/>\n\t<meta name=\"twitter:label3\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data3\" content=\"Jorge Sanguino\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/\",\"url\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/\",\"name\":\"Pol\u00edticas culturales\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg\",\"datePublished\":\"2025-08-25T05:30:24+00:00\",\"dateModified\":\"2026-03-02T11:33:34+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/0848a021b8b105352c882a8bcaa0056c\"},\"description\":\"El ocaso de las pol\u00edticas culturales, marginadas de las agendas pol\u00edticas desde los 80 y enmarcadas sector industrial.\",\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#breadcrumb\"},\"inLanguage\":\"ca\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg\",\"width\":372,\"height\":500},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/ca\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"L&#8217;oc\u00e0s de les pol\u00edtiques culturals\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"ca\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/0848a021b8b105352c882a8bcaa0056c\",\"name\":\"Mar\u00eda Rioja\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"ca\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/b6385611865123867fc399472a6bf707\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/e88ff5c2b031802c0793da3ef9e7c91c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/e88ff5c2b031802c0793da3ef9e7c91c?s=96&d=mm&r=g\",\"caption\":\"Mar\u00eda Rioja\"},\"url\":\"https:\/\/a-desk.org\/ca\/autor\/mariarioja\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Pol\u00edticas culturales","description":"El ocaso de las pol\u00edticas culturales, marginadas de las agendas pol\u00edticas desde los 80 y enmarcadas sector industrial.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/","og_locale":"ca_ES","og_type":"article","og_title":"Pol\u00edticas culturales","og_description":"El ocaso de las pol\u00edticas culturales, marginadas de las agendas pol\u00edticas desde los 80 y enmarcadas sector industrial.","og_url":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/","og_site_name":"A*Desk","article_published_time":"2025-08-25T05:30:24+00:00","article_modified_time":"2026-03-02T11:33:34+00:00","og_image":[{"width":372,"height":500,"url":"http:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg","type":"image\/jpeg"}],"author":"Jorge Sanguino","twitter_card":"summary_large_image","twitter_misc":{"Escrit per":"Mar\u00eda Rioja","Temps estimat de lectura":"7 minuts","Written by":"Jorge Sanguino"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/","url":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/","name":"Pol\u00edticas culturales","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg","datePublished":"2025-08-25T05:30:24+00:00","dateModified":"2026-03-02T11:33:34+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/0848a021b8b105352c882a8bcaa0056c"},"description":"El ocaso de las pol\u00edticas culturales, marginadas de las agendas pol\u00edticas desde los 80 y enmarcadas sector industrial.","breadcrumb":{"@id":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#breadcrumb"},"inLanguage":"ca","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/"]}]},{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2025\/08\/IMG_5135.jpeg","width":372,"height":500},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/ca\/magazine\/locas-de-les-politiques-culturals\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/ca\/"},{"@type":"ListItem","position":2,"name":"L&#8217;oc\u00e0s de les pol\u00edtiques culturals"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"ca"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/0848a021b8b105352c882a8bcaa0056c","name":"Mar\u00eda Rioja","image":{"@type":"ImageObject","inLanguage":"ca","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/b6385611865123867fc399472a6bf707","url":"https:\/\/secure.gravatar.com\/avatar\/e88ff5c2b031802c0793da3ef9e7c91c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/e88ff5c2b031802c0793da3ef9e7c91c?s=96&d=mm&r=g","caption":"Mar\u00eda Rioja"},"url":"https:\/\/a-desk.org\/ca\/autor\/mariarioja\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/69542"}],"collection":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/users\/2975"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/comments?post=69542"}],"version-history":[{"count":4,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/69542\/revisions"}],"predecessor-version":[{"id":69576,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/posts\/69542\/revisions\/69576"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media\/69568"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/media?parent=69542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/categories?post=69542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/tags?post=69542"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/ca\/wp-json\/wp\/v2\/coauthors?post=69542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}