{"id":46168,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46168"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"la-esquizofrenia-del-arte-the-schizophrenia-of-art","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/la-esquizofrenia-del-arte-the-schizophrenia-of-art\/","title":{"rendered":"La esquizofrenia del arte \/ The schizophrenia of art"},"content":{"rendered":"

Autor:<\/strong> Vivianne Lor\u00eda<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 240-241<\/p>\n\n

Este n\u00famero de L\u00c1PIZ Revista Internacional de Arte lo dedicamos a analizar la capacidad cr\u00edtica del arte actual. Pero, en realidad, la cuesti\u00f3n de partida deber\u00eda ser: \u00bfPor qu\u00e9 el arte ha de criticar el establishment<\/em>? Verdaderamente, la idea de que el arte deber\u00eda mantener una actitud, digamos, \u201ccontestataria\u201d es una invenci\u00f3n del siglo XX. Como pronto, podr\u00edamos remontarnos al movimiento Dad\u00e1 y su filosof\u00eda de \u00e9pater les bourgeois<\/em>, que tendr\u00eda gran influencia en los movimientos postvanguardistas de mayor alcance de los a\u00f1os sesenta y setenta. El accionismo, el arte conceptual en todas sus facetas, el land art<\/em>, el body art<\/em>, etc. desarrollaron un verdadero cat\u00e1logo de actividades \u201cal margen\u201d de la correcci\u00f3n pol\u00edtica del academicismo. Ir\u00f3nicamente, las propuestas derivadas de esos movimientos se convertir\u00edan en la base del nuevo academicismo del arte contempor\u00e1neo, tan pr\u00f3digo en expresiones conceptualistas y perform\u00e1ticas convertidas en patrones reiterativos como los que configuraron el canon clasicista. <\/p>\n

Realmente, desde la aparici\u00f3n del concepto \u201carte\u201d referido a la pl\u00e1stica en los siglos XIV-XV, su nicho natural estaba dentro del Sistema, encajando perfectamente en el engranaje del poder, asumiendo las labores propagand\u00edsticas y respondiendo al capricho est\u00e9tico de la aristocracia y la Iglesia. Es un lugar com\u00fan hablar del nacimiento de los movimientos modernos como resultado de la p\u00e9rdida del arte de su lugar en aquel engranaje, lo que coincidi\u00f3 con el auge de la burgues\u00eda del siglo XIX y el paralelo desgaste del poder eclesi\u00e1stico y aristocr\u00e1tico. <\/p>\n

Se supone que es en el marco de las nuevas relaciones sociales en las ciudades modernas donde florece la libertad creativa del artista y se da el desarrollo de la investigaci\u00f3n est\u00e9tica que conllevar\u00e1 la progresiva disoluci\u00f3n de los conceptos de Belleza y representaci\u00f3n<\/em>. El arte, durante el siglo XIX, y a pesar de los progresos a\u00fan incipientes de la imagen fotogr\u00e1fica y de la imagen impresa, continuaba reinando en el universo de la cultura visual general. Era a\u00fan el referente y la expresi\u00f3n m\u00e1s interesante de todo aquello que pod\u00eda expresarse a trav\u00e9s de la imagen, el centro de las miradas. Hasta que apareci\u00f3 el cine y se perfeccion\u00f3 la fotograf\u00eda. El arte entonces pareci\u00f3 encontrar una adecuada salida a su progresiva p\u00e9rdida de sentido social en el ejercicio de la cr\u00edtica del poder, entendido \u00e9ste como una estructura cuyo basamento se halla en los patrones de conducta conservadores. Hacia \u00e9stos se dirig\u00edan los ataques de las m\u00e1s beligerantes vanguardias de principios del siglo XX, \u00e9sas que vieron su simiente crecer en los movimientos pl\u00e1sticos de los sesenta y setenta. <\/p>\n

Pero ya en los a\u00f1os ochenta pareci\u00f3 el arte haber renunciado a sus \u00ednfulas transformadoras de la realidad social, vencido por la televisi\u00f3n y la mercadotecnia. Desde entonces, parece cada vez m\u00e1s desesperado por insertarse en el nuevo Sistema, \u00e9ste en el que vivimos, regido por el mercado. Tal como se expresan en el arte de hoy, las preocupaciones sociales y pol\u00edticas, el esp\u00edritu cr\u00edtico, parecen, en su sobreabundancia y abuso de clich\u00e9s, meros reclamos que no llegan siquiera a alcanzar la eficacia visual de una campa\u00f1a publicitaria cualquiera. Con el manoseado pretexto de dinamitar el Sistema desde dentro, el arte ha buscado un nuevo engranaje al que someterse. <\/p>\n

The schizophrenia of art <\/p>\n

This issue of LAPIZ International Art Magazine analyses contemporary art’s critical capacity. However, we should really start by answering the following question: Why does art have to criticise the establishment? The belief that art should have a sort of \u201crebellious\u201d attitude is, actually, a 20th century invention. It first appeared with the Dada movement and their \u00e9pater les bourgeois <\/em>philosophy, which had a strong impact on the most important post-avant-garde movements of the 1960s and 1970s. Performance, conceptual art in all its facets, land art, body art, etc. all developed a genuine catalogue of activities \u201coutside\u201d politically correct academicism. Ironically, proposals derived from those movements became the base of the new academicism of contemporary art, so full of conceptualist and performative expressions now established as reiterative patterns similar to those that configured the classicistic canon. <\/p>\n

In point of fact, since the concept of \u201cart\u201d appeared to refer to plastic creation in the 15th -20th centuries, its natural niche was inside the System, perfectly adapted as it was to the mechanism of power, assuming advertising duties and answering to the aesthetic whims of the aristocracy and the Church. It is a clich\u00e9 to talk about the birth of modern movements as a result of art losing its place in that mechanism, which coincided with the boom of the bourgeoisie in the 19th century and the parallel decline of the ecclesiastic and aristocratic power. <\/p>\n

Supposedly, the artist’s creative freedom flourished in the framework of new social relations in modern cities, which also accommodated the development of the aesthetic research that would trigger the progressive dissolution of the concepts of Beauty and representation <\/em>. Art, during the 19th century, and despite the still-early progress of the photographic and printed image, continued to reign over the universe of general visual culture. It was still the main reference point and the most interesting expression of everything that could be expressed through images, the centre of attention. Then cinema was born and photography was perfected. Art then seemed to find an appropriate outlet for its social meaning by criticising the power, taken as a structure whose base lies in conservative behavioural patterns. These patterns were the focus of most of the attacks launched by the belligerent avant-gardes of the early 20th century, which saw their seed grow in the artistic movements of the Sixties and Seventies. <\/p>\n

Then in the Eighties, art seemed to give up on its desires to transform social reality, conquered by television and marketing techniques. Since then, it seems evermore desperate to enter the new System, the market-controlled System we live in. As they appear in art today, social and political concerns, the critical spirit, seem, given the overabundance and abuse of clich\u00e9s, mere lures that do not even have the visual effectiveness of any given advertising campaign. With the hackneyed pretext of dynamiting the System from within, art has found a new mechanism to yield to. <\/p>\n

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

Autor: Vivianne Lor\u00eda Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 240-241 Este n\u00famero de L\u00c1PIZ Revista Internacional de Arte lo dedicamos a analizar la capacidad cr\u00edtica del arte actual. Pero, en realidad, la cuesti\u00f3n de partida deber\u00eda ser: \u00bfPor qu\u00e9 el arte ha de criticar el establishment? Verdaderamente, la idea de que el arte deber\u00eda […]<\/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-46168","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\/46168","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=46168"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46168\/revisions"}],"predecessor-version":[{"id":48393,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46168\/revisions\/48393"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46168"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46168"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46168"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}