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sunta Rodriguez, director of the gallery Trinta and member of the new committee of selection of Art Madrid 2010, has done, by request of ARTEINFORMADO, some interest reflections with regard to the past, present and future of the galerismo and collecting in our country, betting, of entry, for the recognition of which something one will have harmed.

Then, something will be necessary to change. As in so many things of our current world, perhaps the solution starts in this humble recognition.



TIES



WE WILL HAVE TO CHANGE SOMETHING

  • for Asunta Rodríguez
    - Director Galeria Trinta -

    "Does he know how do we call here the drug dealer?: the animal invented by a committee. One decided that it should have the big body; other, the small tail; a third one, the chepa; the quarter, the long neck; one more, the big knobs; and the last one, the hoofs up. And does it see the ugly thing that is?..." (Javier Reverte. / the lost ways of África/).

  • omo member of the committee of selection of the fifth edition of ArtMadrid, I have to confess that that is not an easy task of being located, in a moment like the current one, in the role of the seller. Especially if this one knows that it is provided with the reserve of the speaker based on two arguments as powerful as there are the 'economic actuality' that places us opposite to a "reality" on the market of the art that we believed overcome in our country and the least important 'absence of credit' towards the consolidation of a fair project that, in the mind of almost all, seems unnecessary on having been compared constantly with his predecessor and in the shade of whom one has always placed him.

    TO FIGHT FOR HIS CONTINUITY

    It is for it therefore, scarce months before the celebration of the fair, we believe necessarily to tell what leads us to fighting for his continuity, on what bases we raise our convictions and what targets claim to obtain taking up office that in the diagnosis of the problem we see the possibility of the solution. Even, the urgency of the same one.

    Perhaps to questions related to the first argument (the crisis) few answers exist, but it would be to be missing to the truth not to admit that our market suffers the effects of numerous variables. Some of which are not completely innocent not opposite to those that we can be located to security in the role of the victims. We will have to change something when nothing looks like that we have learned of previous similar situations and when the institutional and private cultural infrastructure has a few dimensions that, not many years behind, it was looking like to us an unattainable sleep.

    Inside this context, under the effects of the globalization and under protection of the economic euphoria, the fairs have turned, from the point of view of the art, not only into a concentrated form of exchange of artistic goods but fundamentally into a way of legitimizing artists across galleries of the only profile that provided with a big economic power, press to museums and institutions exercising a new type of speculation of the taste for, in addition to not defrauding the expectations of his collectors - investors, keeping on lubricating the machinery of production of the artistic system demanding and placing products quickly consumable, of immediate profitability and dimensions and characteristics cinematographic - hollywoodienses. It implies that the artists who try to unroll his activity to the margin of the pressures of the priorities of the market are poured out not to exist either inside or out of the fairs. They are not profitable. Only there fit the "best sellers", the "marks", and we all know that there are no Spanish between them. Because the galleries have fixed his targets and have put all his effort and energies in doing all the possible from being in the group of the 'admissible ones'. And the urgency in the "internationalization" of the proposals excludes the long temporary investment which the strategy of the exportation is necessary.

    On the other hand, the always exhaustive information of the art that the mass media offer concerning the celebration of these events, has direct bearing on his prices and his best bidders, with what it remains to add that the result is the espectacularización that finds big and polemic holders, being the least photogenic, most intimate, most experimental thing, the different thing, relegated ideally, from the ambience of the "rare thing".

    EXCESS AND LIE

    This is the tumor: the excess. And this is the lie: the events that sell us to themselves like risky, ultramodern and globally confirmed there are 'official lounges' in which everything is measured, controlled, censured. With criteria that are so valid as others, unless the principal priority is the sale and therefore, the survival. And this one is done by means of the annulment of other.

    Opposite to this reality, against which we can do nothing and to which we have contributed, we can hope that the things should change alone, to that favorable winds blow of us and we please again, or act consequently without fear of being wrong. Some of us believe that the earthquakes that shake us can serve to help us to find and occupy a place that really us belongs; to learn that success and quality are not synonymous and that only sometimes they walk of the hand. To look for solutions without putting exclusively the fault in the others but exercising at the same time our right to question to a system that dynamite the possibilities of future worthy of a sector to which we belong constituting the base of the pyramid.

    If the first decision is to support the activity of our galleries, the second one perhaps it would be the directed one us to stop competing to ourselves: to come to the conclusion that to realize our work linked to his environment, recognizing it as his principal boss and to the service of the creators who in him live only it can be beneficial in short and long term since it generates the diversity that separates us from the exemption market, it enriches a cultural textile that is nourished of different points of view and gives more spaces to the artists and collectors on having allowed them the opportunity to take part in the art in real-time, like experience linked to his creator more than like objects that are acquired according to the value that they will have in a future. And that minor will generate, in many cases, the desire of experimentation as method of practice of the art to the being the economic pressure, obviously.

    THE FAIR TO THE SERVICE OF THE GALLERIES

    Since the positive contrast of the proposals of our artists is one of the fundamental targets of our aspirations like gallery owners and this way we try it on having designed the programmings and at the moment of deciding who our way partners will be, it is licit and healthy that we inhale to posicionarles beyond the local ambience in which they are born and his projects are exhibited. And, since critics, commissioners and a half deal and worry of the part of the ingenuity that also more and better it feeds them, we have to use of the weapon of the system for, without changing anything, trying to change everything. And, presently, in our country, 'a fair that puts itself to the service of his galleries' and has the skill of receiving the gap that others have left only can help to encourage and, perhaps recover, the collecting that we have not been able to retain, which we have thrown in arms of the foreign art and of the foreign galleries historically better placed, in a scorn exercise for ours that rubs pathological levels of absence of self-esteem and commercial sagacity. And whose effects we suffer all.

    We claim the attention of the institutions so that they help us to generate this useless need that supposes acquiring art in moments in which to close the eyes to the reality is more that healthy and we are thinking about having something that to offer them on having given them the possibility of acquiring leading role and responsibility in a task that is in ground of nobody, who seems to have failed in other hands, much more professional, with many other means and possibilities of penetration the markets foreign but more compromised with the import in view of his poor proved after so many years.

    We claim the effort of the galleries from the comprehension of which in these moments the austerity is the best of the strategies. The edition of 2010 can be many things, but not, certainly, a commercial success. Of course, it will initiate, if we want, the countdown. But only if we are ready to keep on believing in the real nature of our offices: to be the voice of the artists without allowing his height to measure itself exclusively according to that of his companies.

    CONFIDENCE AND RIGOROUSNESS

    We assure rigorousness, respect and quality to the collectors whose elections have been always decisive for our survival, up cheering them to keep on entrusting in the artists in whom, with us they believed, whose careers we want to keep on accompanying and of whose talent we have never gone so far as to doubt.

    We say to all of them that we want that ArtMadrid turns into the forum that the Spanish art needs and deserves. That serves from support platform to the promotion, exchange and visibility of the majority number of artists that represented by galleries that distributed by the Spanish geography, there assemble the conditions and the spirit about which we are speaking. That knows the context and values it, that is attentive to the tendency but not to the service of the same one; from the safety of which we will support the honesty of the proposals without value judgments that correspond to the time and from the decisions of a new committee that realizes a 'of integration' task inside reasonable perspectives: those who are born of a radical and awkward proposal. With our artists, our memory and our reality that we do not admit like provincials and for whose cosmopolitism we decide to bet. For this long passage for the desert that waits for us, nothing better than a thick camel. That, African, also they know it.

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