{"id":46164,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46164"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"el-problema-de-los-intereses","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/el-problema-de-los-intereses\/","title":{"rendered":"El problema de los intereses"},"content":{"rendered":"

Autor:<\/strong> Jos\u00e9 Alberto L\u00f3pez<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 245<\/p>\n\n

Cuando hablamos de la industria cultural para referirnos al conjunto de la actividad econ\u00f3mica de los distintos campos de la cultura, nos entra siempre la duda de si en tan amplio concepto cabe la actividad art\u00edstica contempor\u00e1nea, es decir, el tradicional sector del arte visual. El modo de producci\u00f3n de la obra art\u00edstica, su condici\u00f3n de obra \u00fanica y su peculiar sistema de comercializaci\u00f3n diferencia ese campo de otros sectores culturales, como el de la m\u00fasica, la literatura o el cine. En el \u00e1mbito del arte pl\u00e1stico, a\u00fan hoy, una obra es, en principio, f\u00edsicamente, \u00fanica e irrepetible. <\/p>\n

Pero aunque el artista es, evidentemente, un personaje clave en el entramado art\u00edstico, est\u00e1 sujeto a la valoraci\u00f3n <\/em>que de su obra hagan los cr\u00edticos y curadores, las revistas especializadas, los galeristas, los coleccionistas y museos y, detr\u00e1s de todos ellos, los medios de masas, que tienden a ensalzar el estereotipo. Aunque todos esos agentes del entramado art\u00edstico desarrollan sus actividades habitualmente sin ninguna coordinaci\u00f3n, todos son esenciales. La preeminencia ocasional de alguno de ellos puede variar y, de hecho, as\u00ed ocurre, pero no se puede prescindir de ninguno. <\/p>\n

A pesar de esto, hay en el mundo del arte quienes piensan que el arte pl\u00e1stico no sufrir\u00eda ante la desaparici\u00f3n, por ejemplo, de los museos, o de los curadores, o bien de las galer\u00edas o las revistas; las opiniones var\u00edan seg\u00fan los intereses de cada cual. As\u00ed, se da la tendencia hoy entre ciertos sectores del arte a negar la importancia de determinados agentes. Esto es s\u00edntoma de un fen\u00f3meno preocupante: hay sectores del arte que se han alejado de lo que conocemos como \u201cAlta Cultura\u201d para acercarse, no a la baja, pero s\u00ed a la cultura \u201cmedia\u201d, a esa \u201cMidcult\u201d que, como afirmaba Dwight Macdonald, \u201csimula respetar los criterios de la Alta Cultura aunque en realidad los diluye y los vulgariza\u201d. No es de extra\u00f1ar, por tanto, que a la hora de concebir la promoci\u00f3n del arte contempor\u00e1neo espa\u00f1ol en el extranjero se caiga desde los poderes p\u00fablicos y desde distintos sectores del propio circuito art\u00edstico en infructuosas soluciones, que pretenden dar la preeminencia a ciertos actores del mundo del arte en claro detrimento de otros. Por ejemplo, desde el poder institucional se insiste en la celebraci\u00f3n de exposiciones en el extranjero sin valorar adecuadamente el nivel de receptividad del p\u00fablico al que van dirigidas ni la variedad o diversidad de la programaci\u00f3n cultural de la ciudad en la que se desplegar\u00e1 la muestra, y sin tomar en cuenta que para llegar a los consumidores <\/em> de arte, al p\u00fablico \u2013especializado o no\u2013, no basta con acumular recortes de prensa diaria, grabaciones de televisi\u00f3n o noticias de Internet, que se olvidan de inmediato. <\/p>\n

Hace falta conocer las necesidades y caracter\u00edsticas particulares, propias y ajenas, de los distintos actores del mundo del arte para que podamos promover el arte espa\u00f1ol en el mundo de forma adecuada. <\/p>\n

A question of interests <\/strong><\/p>\n

When we speak of the cultural industry to refer to the ensemble of economic activities carried out in the different spheres of culture, we always wonder whether such a vast concept can accommodate contemporary artistic activity, in other words, the traditional sector of visual art. The method of production of the artwork, its condition as a unique piece and its peculiar marketing system sets this field apart from other cultural sectors, like music, literature or cinema. Even today, in the field of plastic art, a work is, in principle, physically unique and unrepeatable. <\/p>\n

However, although the artist, evidently, plays a key role in the artistic structure, he or she is subject to the assessment <\/em>that is made of his or her work by critics and curators, specialised magazines, dealers, collectors and museums and, on top of that, by the mass media, which tend to glorify the stereotype. Although these agents usually carry out their activities in the artistic network without any kind of coordination, they are all essential. The occasional pre-eminence of one or another can vary, and does in fact vary, but none is dispensable. <\/p>\n

Nevertheless, in the art world, some people think that plastic art would not suffer from the disappearance of museums or curators, for instance, or of galleries or magazines; opinions vary in terms of each person’s interests. Thus, nowadays certain art sectors show a tendency to reject granting importance to certain agents. This is the result of a worrying phenomenon: some art sectors have distanced themselves from what is known as \u201cHigh Culture\u201d to approach not low culture, but \u201cmiddle culture,\u201d the \u201cMidcult\u201d that, as Dwight Macdonald says, \u201cpretends to respect the standards of high culture while in fact it waters them down and vulgarises them.\u201d It comes as no surprise, then, that when conceiving the promotion of Spanish contemporary art abroad public powers and different sectors of the actual artistic circuit turn to unsuccessful solutions, clearly hoping to grant pre-eminence to certain agents at the expense of others. For instance, institutional authorities insist on organising exhibitions abroad without adequately assessing the level of receptivity of the audience they target or the variety or diversity of the cultural programme of the city that will host the show, and without taking into account that reaching art consumers, <\/em> i.e. the audience \u2013specialised or otherwise\u2013, involves more than just accumulating news clips, television broadcasts and Internet news items, which are immediately forgettable. <\/p>\n

It is essential to identify the specific needs and characteristics, both distinctive and foreign, of the different agents that inhabit the art world if we are to promote Spanish art in the world appropriately. <\/p>\n

Translation: Laura F. Farhall <\/p>\n","protected":false},"excerpt":{"rendered":"

Autor: Jos\u00e9 Alberto L\u00f3pez Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 245 Cuando hablamos de la industria cultural para referirnos al conjunto de la actividad econ\u00f3mica de los distintos campos de la cultura, nos entra siempre la duda de si en tan amplio concepto cabe la actividad art\u00edstica contempor\u00e1nea, es decir, el tradicional sector del […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10],"tags":[444,351,400],"class_list":["post-46164","post","type-post","status-publish","format-standard","hentry","category-articulos","tag-arte","tag-articulo-html","tag-lapiz-revista-internacional-de-arte"],"acf":[],"_links":{"self":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46164","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/comments?post=46164"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46164\/revisions"}],"predecessor-version":[{"id":48389,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46164\/revisions\/48389"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46164"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46164"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46164"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}