Un Plan de Rescate para las Artes Visuales
La crisis económica global se ha instalado entre nosotros y todo apunta que será por tiempo y con resultados muy negativos. Algunos dicen que devastadores. Un indicador detrás del cual hay personas de carne y huesos: en los últimos seis meses la diferencia entre altas y bajas del Régimen Especial de Trabajadores Autónomos en España da un resultado negativo de 120.000 bajas. Trabajadores autónomos qué no pueden pagar la cotización mensual a la Seguridad Social. ¿Cuántos de ellos son artistas? Los analistas y líderes políticos atribuyen la crisis al colapso del modelo económico basado en el mercado financiero especulativo. Todos apuntan a la nueva economía productiva como la única vía posible para salir de esta con éxito. Dentro de la economía productiva todo el mundo destaca el importante papel de las inversiones en I+D+i, por un lado, y de las industrias creativas o del conocimiento, del otro. De hecho, la Cultura ya aporta el 5% del PIB, sólo por debajo de la venta de armas o del narcotráfico.
Aquí y allá aparecen planes de rescate o políticas activas de apoyo a determinantes sectores o segmentos. Las miradas más lejanas hablan de apoyo a cambio de reformas estructurales profundas, de cambios de modelo.
¿Es imaginable o posible hablar de un plan de rescate para las Artes Visuales? ¿Se trataría de un plan de ayuda coyuntural o debería de incluir reajustes estructurales?
Las artes visuales sufren gravemente los efectos de la actual crisis. En parte es debido a la propia dinámica económica general que, en tiempos de falta de excedentes, retrae la inversión en bienes culturales y artísticos. El balance de ARCO'09 es agridulce. La caída no ha sido tan fuerte como se esperaba. Más síntomas: VEGAP reconoce una vertiginosa bajada en la utilización derivada de las obras de la imagen desde mediados del año 2008 o, dicho de otra manera, de una caída en la recaudación por derechos de autor. Pero también hay factores endógenos como la debilidad del coleccionismo público, privado y corporativo en España, la destrucción progresiva del tejido productivo/difusor del arte contemporáneo. La inestabilidad de los programas o instituciones artísticas debido a los avatares electorales y cambios de gobierno, etc. En un sector como el nuestro, con un alto grado de dependencia económica de la Administración, ¿cómo nos afectarán los próximos recortes presupuestarios? ¿Y las crecientes dificultades de las administraciones, especialmente los ayuntamientos?
Alguien dijo que el momento de crisis viene dado porque lo viejo todavía no ha muerto y lo nuevo todavía no ha nacido. El viejo sistema económico-productivo todavía no ha desaparecido y el modelo alternativo todavía no se vislumbra.
Aún así, y por que si hay un sector cultural potente -en términos de producción, calidad y capacidades- en el Estado español es el de las artes visuales ¿vale la pena elaborar un Plan de Rescate?
El referente del New Deal
Uno de los referentes más potentes de plan de rescate en el ámbito cultural, ante una situación similar a la actual, es la política del New Deal del presidente Roosevelt en respuesta a la depresión económica de los años treinta del siglo pasado. En aquella ocasión la gran preocupación fue el paro que se instaló como grave problema y conflicto en el núcleo duro de la crisis. Con instrumentos como el Public Works of Art Project (PWAP) o la Section of Fine Arts, más de 5.300 artistas norteamericanos (entonces la población de los USA se situaba en los 150 millones de habitantes) encontraron trabajo o fueron eventualmente contratados para llevar a cabo 2.500 murales, 108.000 pinturas, 18.000 esculturas, talleres de artes gráficas o fotografías que documentaron todos estos programas. Dieron clases a los niños o en centros comunitarios. Artistas jóvenes como por ejemplo Philip Guston, Jackson Pollock, Mark Rothko o Mark Tobey participaron. El potente despliegue del arte de los USA tras la Segunda Guerra Mundial no se puede entender sin el impulso inicial de planes como el PWAP.
En la actualidad, el “Plan Zapatero”, de impulso a las obras públicas para generar empleo, ha inyectado, durante este año, 8.000 millones de euros a los ayuntamientos de España. Sólo cinco municipios han quedado descolgados de la convocatoria. El Congreso de los Diputados aprobó una resolución para pedir al gobierno la puesta marcha de un plan de rescate para los Trabajadores Autónomos y el mismo gobierno central acaba de poner en marcha un plan de rescate de las PYMES encomendado al Instituto de Crédito Oficial.
El plan de rescate del presidente Sarkozy por salvar la prensa escrita en Francia ha supuesto una inyección de 600 millones de euros en un intento de compensar la caída de los ingresos por publicidad y los importantes déficits estructurales.
En ocasión de la puesta en marcha estos planos se está generando un importante debate: ¿El apoyo público, la intervención del Estado ha ser a cambio de introducir reformas estructurales para impedir volver a caer en las mismas trampas? Y con respecto a los plazos: ¿Qué es urgente? ¿Qué hace falta preparar? y ¿Qué hace falta cambiar de arriba abajo?
Medidas y herramientas para un
Plan de Rescate de las Artes VisualesLa aplicación efectiva de los planes de rescate depende de la voluntad política y de los recursos que la Administración decide invertir. Todo el primer apartado de este plan está dedicado a esta premisa básica, condición sine qua non para el éxito de una iniciativa de estas características. El Plan, además, está dividido en tres capítulos o plazos. Se propone, en primer lugar, un Plan de Choque, o conjunto de medidas urgentes de carácter paliativo que hace falta adoptar con inmediatez. Un segundo Plan de Activación establece medidas a desarrollar a medio plazo y que han de asegurar el repunte del sector y su salida de la crisis. Finalmente, se describen aquellas reformas estructurales (también déficits) que, más allá de la actual coyuntura de crisis, se han de afrontar o resolver para colocar unos nuevos cimientos sobre los cuales levantar el sector del arte en el futuro.
A. PLAN DE CHOQUE
(medidas de carácter paliativo y
de aplicación urgente)1 Aumento del gasto público de apoyo a las artes o cambio de prioridades. Replanteamiento de las políticas.
La actual crisis está afectando al tejido productivo cultural. El deterioro será más grande y, en ocasiones, se hipotecará el futuro de amplios segmentos cuya recuperación puede ser imposible, irreversible. Las administraciones públicas culturales han de reaccionar inyectando, a corto plazo, recursos a la creación. Estos recursos se han de obtener de un reajuste, o cambio temporal de prioridades, en el gasto público en Cultura oa partir de una nueva arquitectura presupuestaria en la acción global de cada gobierno. Se proponen las siguientes medidas:
1.1. Reducir las inversiones en patrimonio histórico y archivos y destinar los recursos a planes de rescate a las artes. Propuesta dirigida al conjunto de las administraciones.
1.2. Modify or expand the investment plan cultural 1% (a majority of operations are for the rehabilitation of historical heritage) to devote 33% to the promotion of the arts.
1.3. To promote coordinated investment plans by all administrations.
1.4. Economy more resources, involve the entire government in a special plan to support the arts, in addition to the areas of culture resources committed investments from other government departments such as Industry, Labour, Tourism, Education, International Projection and so on.
1.5. The social activities of savings banks, or their foundations, should be to redirect part of their spending toward these Rescue Plans for the Arts.
2. Aid or direct investment to the Visual Arts.
2.1. Each level of government is to promote a Custom Plan Works on Public Space. Public space is meant for urban space, rural, natural, TV and Internet. Avoid the intrusion of architects and other technicians who are not involved-usually-to artistic creation.
2.2. Establish a policy of Art Funds governments of the Autonomous Communities (French tuxedos type) for the acquisition of artworks
2.3. Plan procurement of works of art for public collections funded half with municipalities owners of museums or public collections ..
2.4. Campaign to encourage the private collectors of works by emerging artists. The Administration will contribute € 3,000 to start a private collection of contemporary art with an investment of 3,000 € (Arts Council of England).
2.5. Increased acquisition budgets of museums and public collections of contemporary art. Be established procurement policies that discriminate positively to art produced in the context, women artists and artists living in general.
2.6. Increased budget (regional governments, municipalities) to the call for aid to research, production and dissemination of the visual arts.
3. Access to credit facilities for liquidity or launch new projects.
3.1. Opening a line of soft loans or inexpensive for artists and arts entrepreneurs Official Credit Institute (or similar in the CCAA). Loans with special conditions (2-year grace period) for the first installation or start up a business related to marketing / distribution of visual arts. Loans with special conditions for businesses internationally.
3.2. Grants or loans for the purchase of materials o / equipment and technology.
4. Reduced social costs of independent professionals.
The crisis is forcing many independent professionals, to terminate the Special Scheme for Self-Employed (RETA) because they can not meet the minimum listing fee regularly. You have to lower the minimum contribution to avoid casualties and to encourage high of RETA.
This proposal and others with similar affect all workers or freelancers. In this regard, it recommended establishing agreements and partnerships with professional organizations or unions in other sectors of culture or economics.
5. Improved conditions for research and artistic production.
5.1. Investment Plan to support areas of production centers and visual arts to enhance and expand their services spaces, digital production (equipment and personnel) and artist residencies.
5.2. Expand the venues for the creation (workshops) at very affordable prices.
5.3. Implement programs of temporary spaces. New creative uses for office buildings (public or private) into disuse. Temporal and peaceful use of space, introduction of CSR policies among agents in the housing market and the enforcement of existing tax incentives for such operations.
5.4. Direct financial aid funds for artists to research and preproduction.
5.5. Increased economic capacity of museums and art centers to fund research and artistic production.
5.6. Temporary redundant buildings for exhibition and / or visual arts programming.
5.7. Scrupulous application of the Code of Professional Practice in the Visual Arts in relation to the artist's economic remuneration, respect their copyright and use of the written contract in all public or private, or nonprofit.
5.8. Temporary increase of 5% in the remuneration of the artist (at least 20% cost of the activity in which it participates).
6 Plan employability and employment for visual artists
6.1. Program to stimulate the organization of the first solo exhibition of an artist in the galleries.
6.2. Incentives for the recruitment of young artists as assistants to professional artists statements.
6.3. Increased instructional time devoted to visual expression, creativity and contemporary art history at all educational levels. Recruitment of visual artists as teachers, specialists and monitors extracurricular activities.
6.4. Hiring artists to educational programs and guided tours to exhibitions and art museums.
6.5. Programme to promote experimental audiovisual production with the participation of public television state, regional and major local television.
6.6. Incentives to hire artists to the R + D + i for companies.
6.7. The visual artist is ready to assume responsibility for a wide range of professional activities, labor and economic. The current crisis should public authorities and economic operators to consider the implementation of employment plans for artists in areas such as:
- Cultural tourism and creative.
- Cityscape, rural and natural.
- Creative activities to improve social cohesion, inclusion of immigration, combating social exclusion, crime prevention and rehabilitation of inmates in correctional institutions.6.7. Creating a Job part time for artists who want or need to reconcile their creative work with another job to keep them.
7. Plan for continuous training and retraining for visual artists.
7.1. Funds to support continuing education programs of professional workshops and programs that drive the production areas.
7.2. Creating an Agency guidance and assistance to the Professionalization of Visual Artist. To assist artists at the beginning of his career (coaching), bags of calls, grants, scholarships, residencies, exchanges, awards, spaces and workshops.
8. Support for new entrepreneurs.
8.1. Plan to support the creation of new galleries.
8.2. Enabling local public buildings for new galleries.
8.3. Support for marketing and distribution initiatives (hammock) and the appearance of other distributors, agents or similar mediators literary agent in the field of visual arts.
9. Fighting the digital divide.
9.1. Program visibility of artists and visual arts on the Internet (search engines, wikipedia, etc.).
9.2. Funds aid (% of funding) to create the first website of visual artists or for the renewal of existing ones.
9.3. Creating a portal for dissemination and marketing on-line visual arts.
10. International projection of the visual arts
Public institutions with responsibilities in the international culture and the arts (AECI, SEACEX, Instituto Cervantes, Ramon Llull Institute and other institutions of the Ministry of Foreign Affairs and of the autonomous governments) have plans to boost support and encouragement the international projection of the visual arts. Attention should, preferably, to the international agenda of artists, agents, brokers, institutions and museums of contemporary art from rigorous criteria-thus delegating decision-artistic / scientific councils or committees of the Arts experts according to which, on this subject, has the Best Practices Paper Museum and Art Center.
11. Initial value of the sector and some of its segments.
11.1. Institutional campaigns in the media about the value of the arts and artists.
11.2. Television programs for the dissemination of artistic activity and function of the artist and their social and professional.
11.3. Power-especially-art production that is generated throughout the country, avoiding the centrality of the big cities and their area.
11.4. Editing and free distribution of a visual arts magazine reports, agenda and criticism. The print ads and billboards.
B. REVITALIZATION PLAN
(Measures to drive a pickup or departure
medium-term implementation)13. Creation of new infrastructure facilities or contemporary art.
13.1. Promotion of a network of art at Autonomous Community level.
13.2. Constitution and support a network of museums of contemporary art in the Autonomous Region ..
14. Plan of Research, Development & Innovation in the Visual Arts
It will promote the alliance of creators with the University and Business Administration for artistic production in the field of experimental electronic arts and the web. Companies to allocate resources to projects of creative experimentation of its products (hardware or software, Internet servers, etc ...) with the involvement of artists, receive special tax incentives or support departments or public institutions of cultural industries. In the universities will favor the creation of research teams in all the sciences (social and natural) in the presence of visual artists to develop multidisciplinary projects.
15. Tax measures (legislative changes).
15.1. Lowering the VAT on the artwork and the provision of cultural services to 4% (the central government should propose to the European Union).
15.2. Increase tax incentives for patronage or sponsorship operations for the arts.
15.3. Tax incentives (tax breaks) the acquisition of works of art by living authors.
15.4. Adapting the tax treatment (PIT) to the reality of the visual artist. We need to consider the initial stage of the career, the temporal irregularity of income, the periods devoted to research and production, etc..
16. Changes in the law of copyright and collective management.
16.1. The recent legislation on the right is irrelevant. In rejecting the mandatory collective management, leaving the settlement of this right to the initiative of market participants. We must reform the law in this area and establish mandatory collective management which will allow the creation of genuine Aid Fund of the Autonomous Visual Arts nourished by the amounts unclaimed by the owners of this right (authors or their heirs) for of emerging or lesser known authors.
16.2. A necessary and urgent reform of the Intellectual Property Law Article 56.2 should be deleted that, inexplicably, given the right to display the owner of the work of visual or photographic. This discrimination prevents sometimes the economic exploitation of public communication rights (fees for the exposure) should recover the author. The management entity should manage this important right.
C. STRUCTURAL REFORMS
(Deficits or structural reforms to establish
a new model and long-term effects)18. Writing the Strategic Plans of Visual Arts at Autonomous Communities and the state level.
19. Solving the assembly art / creativity at all levels of education.
20. Enter the arts programming of the media in public ownership.
21. Set the Status of the Artist, to equate regional Spanish legislation and the best European and American experiences.
22. Redefining the role of intermediaries, encouraging the direct relationship between the artist (production) and the consumer or customer.
23. Reformulating the status of the work and the work of artists. Reconsider the production of limited work (or low)-that is revalued and generates goodwill in a speculative market to unlimited production of works (similar to other artistic productions) and services supported by a new model of production and economic development.
24. Changes in government budgetary architecture. Culture contributes 5% of GDP, only under the arms trade and drug trafficking. In contrast, the Spanish State's cultural spending stood at 0.3% and the Autonomous Communities (Generalitat de Catalunya) to 1.13%.
D. IMPROVEMENTS IN THE SYSTEM OF MANAGEMENT,
MONITORING AND EVALUATIONThe realization and management of the Rescue Plan Visual Arts, regional or national level, has to order the new Arts Council or committees of independent experts in accordance with the provisions of Good Practice Document for Museums and Arte. The criteria for direct payments must respect plurality and artistic diversity (practices, generations, etc.).. In any case, it proposes the establishment of joint monitoring committees, coordination, monitoring and evaluation of the respective Rescue Plans consist of representatives of various government and industry associations.
It proposes the creation of a Crisis Observatory to collect information on the impact on the sector and give early warning of budget cuts in the spending of Culture, the cancellation of activities, the disappearance of institutions or programs, the drop in business and so on.
UAAV May 2009.
More information:
New Deal Cultural Programs: Experiments in Cultural Democracy by Don Adams and Arlene Goldbard
A New Deal to overcome the crisis cultural
Is culture a sector like the others?
Reasons to fund art in times of austerity .
In an era of austerity, Reasons to fund the arts | The Art Newspaper .
A bon per a focus moment of Contemporary Art-314 140 . Avui + El Punt
Austerity is the mother of creativity? telegraph.co.uk
The Government have taken the ax to Publications Funding of the arts. Will philanthropists save the arts? guardian.co.uk
CULTURE or barbarism 12/29/10 Daniel Castillejo via (CULTURE or Barbarism) "UAAV .
28/02/2011
Juan Pastor Martín.Salud and culture. Health and Culture - The New Spain - Asturias Independent Journal .
03/09/2011
Architect Juli Capella
Why not be cut (more) culture
Why not be cut (more) culture - Opinion - The Newspaper .
12.03-2011
Josep Maria Pou Actor and theater director
The outraged collect an array of proposals and demands to decouple the cultural creation of the laws of the market to recover public spaces and better manage resources
http://www.publico.es/392061/15-m-le-da-la-vuelta-a-la-cultura
The Culture Sector and the Movement 15-M
http://www.uaav.org/wordpress/archives/9449
http://www.uaav.org/wordpress/archives/9490
http://www.uaav.org/wordpress/?s=15m+
Working groups in the movement culture 15M
15M Culture Commission Valencia
http://es-es.facebook.com/note.php?note_id=215961121770212
http://es-es.facebook.com/pages/CulturaAcampadaValencia/213853951980929?sk=info
Elche Culture Working Group
http://elche.tomalaplaza.net/grupos-de-trabajo/grupo-de-trabajo-cultura/ #. Trz_PnLAQgQ
http://elche.tomalaplaza.net/category/grupos-trabajo/cultura/
Mother Culture Working Group
http://culturasol15m.wordpress.com/
https://n-1.cc/pg/groups/132833/cultura/
https://n-1.cc/pg/bookmarks/owner/group:132833
PER PROPOSTA A CULTURAL MODEL NOU (v.Beta) Barcelona
The Declaration of Culture Comissió Barcelona Plaça Catalunya per a Model of Social Culture
http://www.uaav.org/wordpress/archives/10312
PER PROPOSTA A CULTURAL MODEL NOU (v.Beta) | Camping Culture Comissió Barcelona .
http://culturaacampadabcn.wordpress.com/
FACEBOOK: Culture Camping Barcelona
Pots follow-us at: @ CulturaBCN
International
Occupy Art World #! / OccupyArtWorld
http://hyperallergic.com/tag/occupy-wall-street/
Crisis Observatory FOLLOW IN THE PRESS UAAV
Other news:
After the bubble
FEATURE: ARCHITECTURE
Anatxu Zabalbeascoa 20/06/2009
Botond Bognar, Beyond the Bubble: The New Japanese Architecture, London: Phaidon, 2009.
Thomas Daniell, After the Crash: Architecture in Post-Bubble Japan, New York: Princeton Architectural Press, 2008.July 9, Miró Foundation in Palma de Mallorca / seminar
Crisis as catharsis
By Alfonso Armada. June 20, 2009 - number: ABCD 908
His eagerness to learn the truth at any price just condemning Oedipus discovers that he is none other than the murderer of his father and the woman is his mother lying. The revelation dazzles spectators attending the self-punishment of the poor Oedipus bursts corneas to punish the rest of his days as a blind man. The catharsis that served to purify the Greek temples today touches us numbed by softness. One wonders whether the crisis has come to awaken from the languor can serve as an incentive: the Art alum dark times.
Although he does not like an example, Isidoro Valcárcel Medina (Murcia, 1937) could very well make litmus paper. After ignoring him for years, the museum will now want to collect, but he does not please him 'starch'. Noise made its dispute with the Reina Sofía: when the museum will present a project proposed, accepted on the condition of knowing what had cost the latest exhibitions, from top to catalogs, to transport and insurance. Although these data Valcárcel thought the public domain, Reina Sofia turned hedgehog. The artist turned to the Department and Congress, but only the Ombudsman in his favor. The exhibition was canceled, but treasures a correspondence Valcárcel depicts a fragment of the world.
Art accommodating. Valcarcel believes that the crisis has come to help the newspaper (this article / survey is further evidence): "I think it has marginalized the true sense of crisis. It happens a lot in this time of bottling information. The crisis is a very positive thing. The art is always in crisis, in the sense of the word beautiful. Art is inconceivable apart from the crisis. Because a pliable art is not art. " A crisis Valcárcel not lose sleep, "I do not care the least. I have never ceased to be in crisis. Neither enjoyed the boom of the art world or suffer at this time. There are people that are going very badly, and no right to it, but I see hundreds of loopholes. In the economic sense we have lived thoughtlessly. The mission of art, and more in times of crisis, spurring the ability and the mental process. Achieving most important artistic creations that we have today is easy. But the creative professionals do not hear any discussion about it that does not have economic connotations. I expect a lot from the crisis. It has sold a lot of wrapping, which is something that we're obsessed. See if so, thanks to the crisis, we were able to renew something. "
Uplift the spirit. "Has spread the idea that the crisis by slowing consumption, frustrated consumer diverted into activities that go free and, in some cases, uplifting. In the latter case would be art. The art show, not as property. It is, in my opinion, a fantasy, "says the essayist, and writer Alvaro Delgado-Gal (Madrid, 1953), author of The Man deified. "It is true that poverty increases the demand for cheap or free items. But art can only be enjoyed if you have conditions, training like? - Difficult to acquire, and impossible to improvisation. So do not think the crisis makes the art, in this sense more "necessary." That does not mean that more people go to certain exposures, assuming that you can enter them without paying entrance. Now, between entering an exhibition to hang out without spending a euro, or take the afternoon watching planes take off Barajas, I see the truth, no difference. "The director does not appreciate Book Review" a relationship systematic relationship between content, context and artistic quality. Sometimes the social or political drama generates issues, concerns, issues. The Grapes of Wrath, Steinbeck, born of the Great Depression, much of the literature of Solzhenitsyn, the experience of Stalinist death camps, Primo Levi would not have written his great testimony without going through Auschwitz Bicycle Thief, Vittorio de Sica, is a great movie and a powerful document of social protest. But the anguish of Antonioni Italy are in the development of the sixties, is Proust as a writer before the Great War, and Joyce ignored. Picasso and Braque invented cubism also before the Great War, which affords them any kind of inspiration. It may be that a creator operates a historical and social drama for aesthetic purposes, without being committed to human reality. Is the case of Valle-Inclán. The opposite occurs, of course, with Goya. The most interesting from an aesthetic point of view, is to estimate if a style or gloss enhances the perception of certain facts magnum. It is evident that cubism no use to talk about the war. Neither Global nor the Spanish Civil. A Valley cared much less the human being to build a perfect literary Spanish. "
Romantic heritage. For the poet and essayist Chantal Maillard (Brussels, 1951), "if not enter into the consideration of" art "is a concept that was in crisis long ago and whose meaning and purpose to be reconsidered, and we stick to the romantic heritage the term, can be said that, indeed, bad times are good for introspection, do we leave the surface where we live in good times to peek into our deepest weaknesses, and value to bear. Hence the need to communicate it to others to throw ropes to collect. The bad times are a spur, suddenly there's something that feeling and something to say. But in reality, is a trap, because the subject of art (the art) is not outside but in human nature, external changes have nothing to add to it. The human being is always in crisis that is heard a little, and good works are those that tell us something about that beat. " Author of books such as threads or Daily Indian art as a mission says: "Any mission it is an ideology, and soon heard that you feel will be key holder, and replies".
It has been shown to have an ear for music and primitive forms of theater with two assemblies held, The Christ of the Gascons and the order of the Magi, who has staged his company, Nao d? Loves. Ana Zamora (Madrid, 1975) thinks that "beyond the repertoire discussed, the theater is a privileged and exemplary of freedom, comparing ways of being, living, feeling ... and so is a political fact. It is essential for life in society, both in times of crisis, as in good times. " When asked if the crisis forces try to make art more relevant, the stage director says: "I feel quite optimistic at the ideological level, since this crisis means that, inevitably, the whole society to stop for a moment and question the meaning of an economic structure that we sold as idyllic and has proven to be a hoax. Market values have governed the performing arts in our country in recent years. We have lived an outrageous frivolity in which there was only room for quick and easy product consumption. Hopefully this whole situation makes us approach the theater from a more human, more profound. The work of creation requires generosity, and that is something we have forgotten. "
Sublimate the everyday. "Art arises because some privileged people, artists, able to express emotion so sublime in all of us, through song, text, shape, color?, An image. The sublime art everyday, enlightens us, awakens our sensibilities, encourages, enriches and opens up new ways? Makes us better. And this regardless of any situation, no matter that in good times of crisis. In times of crisis, a landmark art is even more necessary because it helps us to overcome the hardships, disappointments, disappointments ... It's like a light that turns on and illuminates the good side of human beings, we could be if we gearing Truth and Beauty. "These words of architect Cesar Portela (Pontevedra, 1937), which tries to mimic his works with the environment or engage in dialogue, even with him abruptly, as the cemetery of Finisterre.
The novelist and Gutierrez poetaMenchu (Madrid, 1957), who risks with each book, believes that "art, like philosophy or poetry, is a way to delve into what we call reality, and it is impossible for a crisis whatever its origin, regardless of the starting point of an author, does not affect the creative act. " Ensures the author of Dissection of a storm: "I've never been interested in art decidedly" missionary "in my opinion tending simplistic analysis. However, situations of extreme need in all walks of life, and of course the budget, we face an unexpected and very long hall of mirrors, and the quicksilver is an extraordinary creative stimulus. In this context, I could not define what "relevant". "
"The only mission of art is just creating artistic works. The proposed regeneration art goes beyond specific situations of joints. More complicated situations tend to cause a stronger art, more aware, more insightful. A creation that are serious about making us smarter, supposedly better. "Taciturn, and a lover of accuracy, the photographer Edward Momeñe (Bilbao, 1952) sees turbulence incentives:" The crisis discourage opportunism, adaptation to fashion, to mediocrity. All this may be bad for the market, but not for the artwork. The storms have enough things to do, but finally clean up the environment. The photograph is crying. "
Entertainment field. The painter Prudencio Irazábal (Puentelarrá, Alava, 1954), who returned to Spain after more than two decades in Manhattan, ironic that this "as prophesied and publicized crisis must also belong to the entertainment field, and surely few have it on the wall as a good example of art of mass audience. " The painter, who perseveres to capture the grace of light, says that "art has to do with the skills and human dislocations and usually unequally distributed, whether or not patrons, abundance or scarcity. That said, note that this crisis, rather than growth, which would give rise to a collective enthusiasm capable of illuminating a new vision, looks like an ending that rots into decay. In the best case, we would be on the threshold of a period of calm sea, and thus deprived of the slightest wind cool us back. What art is going to take a time like this? Not the kind of question one asks before going to study. Neither the artist more critical of their work is free to believe that work sold equals good work. " In an ironic twist, he concludes: "Needless to say, we all hope that the crisis sweeps away the art and artists" superficial ", ie the competition."
"It's hard to know if there is a" mission "of art, more so because the aesthetic beauty has become institutionalized in modern times as that which has no utility or any mission, so that, if done out of necessity cease to enjoy I suppose the freedom essential. But it's even harder to know if there are actually some times non-crisis, even of different types. I do not want to trivialize any dramatic situation, but the crisis is a great excuse for many people and many institutions fail to comply with its obligation, "says an observer who uses philosophy to decipher the world. José Luis Pardo (Madrid, 1954), author of This is not music. Introduction to the discomfort of mass culture, thus responding to the question of whether the crisis is forcing to make art more relevant: "It sounds strange that a work of art arises from an obligation, without doubt, the crisis, and suggest topics for artists can fill them with responsibility, but it seems hard to believe that this simple combination that makes birth to works such as Dostoevsky or Galdós. Surely there were many writers more attentive to social needs and crises of his time that, say, Flaubert and Clarín, but are the works of the latter, and not those, which remain a model. I do not know if they are the works that are born of crisis or great works of art are those that put in crisis the societies in which they appear, and due to it its greatness. "
With eyes stuck in a new film, Mercedes Alvarez (Aldeaseñor, Soria, 1966), director of The Sky Turns, believes that "neither the artist or the poet, or even have the intellectual and the predicament, the authority or ability social influence they had in the past. I think that we admit all and, from this point of view, I do not think that the current financial and economic crisis leaves deep traces in art. The technological paradigm (the impersonation of the real) and the ubiquitous market (the intensive model of production and consumption) are the real enemies of the artist, have colonized the life, experience and adventure of life. As I see now is to overcome the crisis back to encourage consumption and production, I also propose we leave this for a few years back another crisis more severe. But art is transformed back or only when we stop again to be naked in front, facing the anguish of living, one that, as Heidegger said Oteiza, only the artist can be cured. "
History repeats itself. An anguish that will not heal the "buy, damn!", And the perverse variant "Dance, Dance, damn!". Without trying to break old mirrors, look at the crisis from the perspective of Varlam Shalamov (1907-1982), author of Tales of Kolyma, which suffered the Gulag, "Why do I write? I do not believe in literature. I do not think that literature is able to correct the man. The experience of Russian humanistic literature has brought to the bloody executions of the twentieth century, I have seen with my own eyes. I do not think I can prevent nothing, to be able to avoid repetition. History repeats itself. And any 37 year's squad can be repeated. So why, notwithstanding all this, I write? I write for someone else, when you read my prose, which is far from a lie, can explain the way his life. Man must do something ... This is not normal and common responsibility, but moral. Esta responsabilidad no la tiene el hombre común, pero en el poeta es imprescindible».
