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A lo grande

Magazine

26 October 2010

A lo grande

Los grandes eventos siguen viento en popa. Las grandes instituciones siguen con sus golpes de efecto. El Guggenheim, sin ir más lejos, llega a un acuerdo con Youtube para buscar otras vías activas de relación usuarios-museos. Desde la comunicación, desde la venta de marca, que no sea que se rompan las reglas del juego y a alguien se le ocurra poner en duda el tingladillo.

En momentos de crisis económica (de crisis normal sabemos bastante, el arte contemporáneo necesita poner en crisis lo que le rodea constantemente) una de las primeras cosas a eliminar son las voces críticas. Voces críticas dentro de los eventos, voces críticas dentro de las instituciones. Y eliminar las voces críticas implica también incorporar a la crítica: incorporar supuestos discursos críticos que están llenos de trampas, como muchos de estos trabajos artísticos que vemos aquí y allá en los que formatos “mágicos” llevan a crear pátinas políticas y supuestamente críticas a algunas obras que son directamente insubstanciales y no representan peligro alguno.

En este número de A*DESK presentamos tres escritos que se preguntan, también, sobre la posibilidad política. Marcela Römer trata el caso de Roberto Jacoby en la Bienal de Sao Paulo, Haizea Barcenilla se acerca a Manifesta 8 y Paloma Checa repasa la situación hoy en China a partir de un ejemplo concreto.

A*DESK is a critical platform focused on publishing, training, experimentation, communication and dissemination in relation to contemporary culture and art, which is defined by transversality. The starting point is contemporary art, because that is where we come from and this awareness allows us to go much further, to incorporate other disciplines and forms of thought in order debate issues that are relevant and urgent for understanding our present.

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"A desk is a dangerous place from which to watch the world" (John Le Carré)