{"id":46167,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46167"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"editorial-la-promocion-exterior-del-arte","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/editorial-la-promocion-exterior-del-arte\/","title":{"rendered":"Editorial: La promoci\u00f3n exterior del arte"},"content":{"rendered":"

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

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 242<\/p>\n\n

Una vez despejada, tras las elecciones generales, la inc\u00f3gnita sobre el pr\u00f3ximo Gobierno de Espa\u00f1a, y dado que es previsible la continuidad de los ministros de Cultura y de Asuntos Exteriores y Cooperaci\u00f3n en sus respectivas carteras, es de esperar que muchos de los temas que quedaron moment\u00e1neamente pospuestos por las elecciones se retomen. Uno de ellos, que afecta a ambos ministerios, es el de la promoci\u00f3n de la cultura espa\u00f1ola en el exterior, asunto que preocupa especialmente al mundo del arte, un sector desconcertado por la poca presencia y consideraci\u00f3n que se tiene del arte espa\u00f1ol a nivel internacional y que considera que el problema radica fundamentalmente en una estructura estatal administrativa mal articulada y poco eficaz. Sin embargo, la ra\u00edz del problema no reside exclusivamente ah\u00ed. Otros \u00e1mbitos culturales, como el cine, la literatura o la m\u00fasica, viven aquejados de un mal similar, pero reaccionan con el ejercicio de la autocr\u00edtica y con el examen de la calidad de sus propias producciones con respecto a las de otros pa\u00edses. Esta actitud, como todos sabemos, no se da en el mundo del arte espa\u00f1ol, donde nadie osa poner en duda las excelencias de lo que se produce, se expone y se vende en Espa\u00f1a. Adem\u00e1s, la expresi\u00f3n \u201cproyecci\u00f3n exterior del arte espa\u00f1ol\u201d enmascara un sentido \u00faltimo al que nadie quiere hacer referencia de forma expl\u00edcita, y que es el de \u201cmercado exterior\u201d. Pero es que a ese mercado, necesario, no se acceder\u00e1 nunca con meros cambios en la estructura administrativa del Estado, ni con la creaci\u00f3n de instituciones a imagen y semejanza de las que poseen otros pa\u00edses, aquejados, parad\u00f3jicamente, del mismo complejo. Hace falta, tambi\u00e9n, calidad. <\/p>\n

Gracias a su nivel de calidad, se da la curiosa circunstancia de que el arte brasile\u00f1o, al igual que su m\u00fasica, traspasan fronteras sin contar con apoyo pol\u00edtico ni institucional. Basta observar c\u00f3mo en la \u00faltima Bienal de Venecia, frente a la muy escasa presencia espa\u00f1ola \u2013solo particip\u00f3 un artista espa\u00f1ol\u2013, se alz\u00f3 la numerosa presencia brasile\u00f1a: Waltercio Caldas, Iran do Esp\u00edrito Santo, el grupo Morrinho, Elaine Tedesco, Paula Trope y el desaparecido Leonilson. En la Documenta de Kassel ocurri\u00f3 algo parecido. Sin contar con la tonta inclusi\u00f3n de Ferran Adri\u00e0 haci\u00e9ndose pasar por artista \u2013ni con la de \u00cd\u00f1igo Manglano-Ovalle, que se presenta a s\u00ed mismo como estadounidense, o la de la artista argentina radicada en Barcelona Sonia Abi\u00e1n\u2013, la representaci\u00f3n espa\u00f1ola qued\u00f3 reducida al desaparecido Jorge Oteiza y a Ibon Aranberri. Pudo verse, en cambio, obra de los fallecidos Luis Saciloto, Mira Schendel y Mauricio Dias (del d\u00fao Dias & Riedweg), y tambi\u00e9n de Ricardo Basbaum, Jorge Mario J\u00e1uregui e Iole de Freitas. La presencia brasile\u00f1a triplic\u00f3, as\u00ed, a la espa\u00f1ola. <\/p>\n

Estos hechos se repiten sistem\u00e1ticamente en diferentes eventos, ferias y publicaciones de alcance internacional, y deber\u00edan hacernos reflexionar desde otra perspectiva sobre el origen de las dificultades que encuentra el arte espa\u00f1ol para saltar a la arena de los eventos internacionales. <\/p>\n

Promoting art abroad <\/p>\n

Now that the general elections have cleared the mystery regarding the next Spanish Government, and given that the Ministers of Culture and of Foreign Affairs and Cooperation will most likely continue in their respective positions, many of the topics that were momentarily postponed by the elections will supposedly be taken up again. One of them, which concerns both ministries, is the promotion of Spanish culture abroad, an issue that particularly worries the art world, a sector that is nonplussed by the scarce presence and consideration given to Spanish art on an international level, and which considers that the problem lies mainly in the administrative structure of the State which has a flawed configuration and is barely effective. However, the root of the problem goes beyond that. Other cultural spheres, like cinema, literature or music, suffer from a similar illness, but react using self-criticism and by examining the quality of their own productions compared to foreign creations. As we all know, this attitude does not apply to the Spanish art world, where no one dares question the excellent qualities of what is produced, shown and sold in Spain. Furthermore, the expression \u201cpromoting Spanish art abroad\u201d conceals an ultimate sense which nobody wants to refer to explicitly, namely the \u201cforeign market.\u201d In <\/p>\n

fact, that (necessary) market will never be accessed by merely enacting changes in the administrative structure of the State, or by creating institutions that mirror those existing in other countries, which, paradoxically, suffer from the same complex. Quality is, also, needed. <\/p>\n

Funnily enough, given their quality, Brazilian art, and music, have been able to go beyond borders without relying on political or institutional support. For instance, take the scarce Spanish presence at the last Venice Biennial \u2013only one Spanish artist was invited\u2013 and compare it to the vast number of Brazilian creators: Waltercio Caldas, Iran do Esp\u00edrito Santo, the Morrinho group, Elaine Tedesco, Paula Trope and the late Leonilson. Similarly, without the silly incorporation of Ferran Adri\u00e0 pretending to be an artist \u2013or \u00cd\u00f1igo Manglano-Ovalle, who considers himself American, or Argentinean artist living in Barcelona Sonia Abi\u00e1n\u2013, Spain was only represented at the Kassel Documenta by the late Jorge Oteiza and Ibon Aranberri. However, Brazil was represented by the late Luis Saciloto, Mira Schendel and Mauricio Dias (from the duo Dias & Riedweg), and by Ricardo Basbaum, Jorge Mario J\u00e1uregui and Iole de Freitas. Thus, there were triple the amount of Brazilian artists compared to Spanish creators. <\/p>\n

These figures are repeated systematically in different events, fairs and publications with an international circulation, and should make us take a different perspective to consider the origin of the difficulties that Spanish art encounters when it comes to taking the leap into the arena of international events. <\/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 242 Una vez despejada, tras las elecciones generales, la inc\u00f3gnita sobre el pr\u00f3ximo Gobierno de Espa\u00f1a, y dado que es previsible la continuidad de los ministros de Cultura y de Asuntos Exteriores y Cooperaci\u00f3n en sus respectivas carteras, es de esperar que muchos de […]<\/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-46167","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\/46167","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=46167"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46167\/revisions"}],"predecessor-version":[{"id":48392,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46167\/revisions\/48392"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46167"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46167"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46167"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}