Biel Books<\/a>.<\/p>\nLa tesi que defensa Antonio Ortega en aquest llibre \u00e9s que a Barcelona, entre 1992 i 2012, s’ha donat un proc\u00e9s d’adaptaci\u00f3 per part dels artistes, al que ell anomena una “progressiva institucionalitzaci\u00f3 de l’art contemporani”. \u00c9s a dir que, a mesura que s’anaven creant nous museus i que s’obrien centres d’art per tota la geografia espanyola, es creaven nous perfils professionals de l’\u00e0mbit de la gesti\u00f3 (principalment el del comissari, la funci\u00f3 del qual no s’ent\u00e9n sense el format expositiu) perqu\u00e8 s\u2019ocupessin d’aquestes institucions i, amb aix\u00f2, l’exposici\u00f3 temporal es convertia en el mitj\u00e0 preferit per donar difusi\u00f3 a obres i projectes d’artistes en actiu.<\/p>\n
Davant d’aquesta evid\u00e8ncia, els artistes s’haurien, de manera volunt\u00e0ria, adaptat a una forma de producci\u00f3 basada en el projecte expositiu ef\u00edmer que podia deixar o no un producte material eventualment apte per a la venda en galeries, antigues posse\u00efdores del poder legitimador de l’art contemporani, per davant de museus i altres institucions. Dit aix\u00f2, el text tracta de dilucidar aspectes relatius a aquest canvi en la responsabilitat validadora, oscil\u00b7lant del mercat cap a la instituci\u00f3, i l’\u00fas dels diners p\u00fablics en el context de l’art contemporani, que gaudeix gaireb\u00e9 sempre de prefer\u00e8ncia per part d’artistes i comissaris -per semblar m\u00e9s net- per\u00f2 que no deixa d’actuar com un sab\u00f3 de mans i fins i tot de lubricant en maniobres d’urbanisme a m\u00e9s o menys gran escala, per citar l’exemple de la gentrificaci\u00f3.<\/p>\n
“Demagogia y Propaganda en Arte” \u00e9s, sobretot, un assaig molt personal, trufat d’exemples que l\u2019autor coneix de primera m\u00e0 o extrets del seu entorn m\u00e9s proper, de converses amb amics del m\u00f3n de l’art o de viv\u00e8ncies en primera persona. Aquesta seria la ra\u00f3 per la qual el cos de l’estudi es basa en el context local, tot i que el mateix proc\u00e9s d’institucionalitzaci\u00f3 progressiva s’hagi donat en altres contextos. Encara que aquest enfoc \u201cortegui\u00e0\u201d, d\u2019”etn\u00f2leg malvat”, en paraules de Rub\u00e9n Mart\u00ednez, no impedeixi que puguem extrapolar algunes de les idees centrals del text al context actual de l’art contemporani a nivell global, el mateix Ortega avisa que \u00e9s un perill utilitzar el estudi d’un \u00e0mbit local concret per fer-se una idea, un model a petita escala, del que \u00e9s aquest m\u00f3n a una escala molt m\u00e9s gran. Malgrat aquest advertiment, \u00e9s cert que l’abrupte dels canvis operats en l’escena espanyola en els anys que s’exploren en l’assaig, serveixen com a cas d’estudi, i val a dir que el sentiment general del context art\u00edstic mundial \u00e9s un, institucionalitzat o no, que \u00e9s el del que en alemany es diu Endzeitstimmung, o el sentir de la fi d’una \u00e8poca.<\/p>\n
Amb aix\u00f2 vinc a incidir en la import\u00e0ncia que aquest text el publiqui una editorial nounada, Biel Books, que se centrar\u00e0 en l’edici\u00f3 i difusi\u00f3 de publicacions d’artistes vius i de la qual aquesta \u00e9s la primera refer\u00e8ncia. Biel Books, com anunci\u00e0vem al principi, \u00e9s el projecte editorial de Gabriel Peric\u00e0s, un artista que es podria definir com emergent, si alg\u00fa sap el que vol dir aix\u00f2 ara, per\u00f2 amb una traject\u00f2ria d’exposicions bastant s\u00f2lida. De diverses generacions posteriors a Antonio Ortega, ha ent\u00e8s que el de l’art ja no funciona esperant a que et vinguin a buscar els comissaris, sin\u00f3 que un ha de ser proactiu, emprendre, ser el seu propi cap i tot aix\u00f2. Es tracta de “posar en pr\u00e0ctica models de publicaci\u00f3 i distribuci\u00f3 sostenibles” i de donar un nou sentit a la tasca editorial, tot aix\u00f2 servint-se una mica de m\u00e8todes de finan\u00e7ament molt de moda ara, com el micro-mecenatge o la subscripci\u00f3. Sembla que aquesta nova forma de ‘do it yourself’ \u00e9s el paradigma a qu\u00e8 artistes, comissaris i d\u2019altres haurem d’adaptar-nos si volem sobreviure en el m\u00f3n de l’art en un context cr\u00edtic -en molts sentits- com l’actual.<\/p>\n","protected":false},"excerpt":{"rendered":"
Fa cosa d’un any va arribar a la meva b\u00fastia de correu electr\u00f2nic “Demagogia y Propaganda en Arte seg\u00fan Antonio Ortega”, un text que venia a ser una versi\u00f3 resumida…<\/p>\n","protected":false},"author":1276,"featured_media":7865,"comment_status":"open","ping_status":"open","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":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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<\/p>\n