{"id":46171,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46171"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"grandes-expectativas-otra-vez","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/grandes-expectativas-otra-vez\/","title":{"rendered":"Grandes expectativas, otra vez"},"content":{"rendered":"

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

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 236<\/p>\n\n

En julio, un cambio en el Gobierno de Espa\u00f1a llev\u00f3 a C\u00e9sar Antonio Molina, periodista, poeta, escritor y director del Instituto Cervantes, a ocupar la cartera de Cultura, en sustituci\u00f3n de Carmen Calvo, la ministra que m\u00e1s confusi\u00f3n aport\u00f3 al funcionamiento del Museo Nacional Centro de Arte Reina Sof\u00eda, al anunciar p\u00fablicamente, justo tras tomar posesi\u00f3n de su cargo, su intenci\u00f3n de sustituir al director de entonces \u2013Juan Manuel Bonet\u2013, mencionando a la vez a candidatos de renombre para sustituirle. Finalmente, y con gran desconcierto para el mundillo art\u00edstico, fue elegida Ana Mart\u00ednez de Aguilar, una historiadora del arte poco conocida. Esta circunstancia se sum\u00f3 a la del nombramiento de una subdirectora con escaso curriculum y a la presentaci\u00f3n de un plan museogr\u00e1fico que no satisfizo a buena parte del sector art\u00edstico espa\u00f1ol \u2013en especial, al relacionado con el mercado\u2013. Todo esto hizo que la labor de Mart\u00ednez de Aguilar estuviera sometida a la sospecha desde el principio y fuera contestada con m\u00e1s o menos argumentos, llevando a una parte del sector art\u00edstico a discutir la necesidad de incidir en la regulaci\u00f3n del funcionamiento de los museos y centros de arte, lo que deriv\u00f3 en la negociaci\u00f3n con el Ministerio de Cultura de lo que acabar\u00eda llam\u00e1ndose \u201cDocumento Cero del Sector del Arte Contempor\u00e1neo: Buenas pr\u00e1cticas en Museos y Centros de Arte Contempor\u00e1neo\u201d. Este documento fue firmado por la ministra Calvo, supuestamente de forma no estrictamente vinculante. <\/p>\n

La llegada de Molina al Ministerio de Cultura y el nombramiento de Jos\u00e9 Jim\u00e9nez como Director General de Bellas Artes, firmes defensores ambos de poner en pr\u00e1ctica ese documento, llevaron a la dimisi\u00f3n de Mart\u00ednez de Aguilar. A pesar de que faltan muy pocos meses para las pr\u00f3ximas elecciones generales, el nuevo ministro ha optado por cubrir r\u00e1pidamente la vacante, acelerando el proceso de cambio en el Patronato del Museo y modificando el Estatuto del Organismo Aut\u00f3nomo del mncars mediante Real Decreto para adecuarlo a la elecci\u00f3n del nuevo director, que cambia su figura jur\u00eddica, convirti\u00e9ndose en \u201cDirector Art\u00edstico\u201d, aunque percibir\u00e1 mejores honorarios. En resumen: con un plazo muy reducido \u2013apenas mes y medio\u2013, escasa publicidad y un Comit\u00e9 de Expertos presidido por el director general de Bellas Artes y Bienes Cuturales \u2013lo que induce a pensar que el Ministerio quiere controlar en \u00faltima instancia la propuesta de nombramiento que deber\u00e1 ser ratificada por el Patronato\u2013, se ha convocado el concurso para ocupar el cargo de director del mncars. <\/p>\n

Queda por ver el resultado de esta precipitada convocatoria, que pretend\u00eda ganar la atenci\u00f3n del gremio internacional. De todos modos, no ser\u00eda necesario buscar lejos de Espa\u00f1a candidatos id\u00f3neos para el puesto, aunque no sabemos si \u00e9stos se presentar\u00e1n a la selecci\u00f3n. Podemos pensar, por ejemplo, en profesionales como Orlando Britto, Miguel Fern\u00e1ndez Cid, Gloria Moure o Pablo Rico, entre otros, cuya experiencia como directores de instituciones culturales y como comisarios de numerosas exposiciones acreditar\u00eda su capacidad. En todo caso, no se trata aqu\u00ed tan solo de organizar exposiciones, sino tambi\u00e9n de dirigir, de gestionar, una colecci\u00f3n que ha de crecer siguiendo un m\u00ednimo rigor, si es que pretendemos hacer del Reina Sof\u00eda una buena instituci\u00f3n art\u00edstica en el siglo XXI. <\/p>\n

Great expectations, once again <\/strong><\/p>\n

In July, after a reorganisation of the Spanish Government, journalist, poet, writer and director of the Instituto Cervantes, C\u00e9sar Antonio Molina, took over the Culture portfolio, replacing Carmen Calvo, the former minister who managed to contribute a great deal of confusion to the operation of the Museo Nacional Centro de Arte Reina Sof\u00eda (mncars) by publicly announcing her intention to replace the then director \u2013Juan Manuel Bonet\u2013, just after taking up her position, and simultaneously revealing the renowned candidates that would replace him. Finally, and causing much turmoil among the art world, the position was appointed to Mart\u00ednez de Aguilar, a little known art historian. Furthermore, the Ministry also appointed an assistant director with little experience and presented a museum plan that did not meet the needs of a good part of the Spanish artistic sector \u2013especially of the one linked to the market. In view of all this, Mart\u00ednez de Aguilar’s work was under suspicion from the very start and was contested with more or less arguments, leading part of the artistic sector to debate the need for the regulation of the operation of museums and art centres, which instigated the negotiation with the Ministry of Culture of what would end up bearing the name \u201cDocument Zero of the Contemporary Art Sector: Good Practices in Contemporary Art Museums and Centres\u201d. This document was signed by Minister Calvo, although it was supposedly not strictly binding. <\/p>\n

The arrival of Molina to the Ministry of Culture and the appointment of Jos\u00e9 Jim\u00e9nez as the Director General for Fine Arts, both firm champions of implementing that document, led to the resignation of Mart\u00ednez de Aguilar. Although the coming general elections are only months away \u2013March 2008\u2013, the Minister has decided to quickly cover the vacancy, thus accelerating the process of change of the Museum Board and modifying the Statute of the Autonomous Body of the mncars via a Royal Decree that adapts it to the election of the new director, who receives a new legal title, and is now \u201cArtistic Director,\u201d but will receive better wages. In all: in a very short period of time \u2013barely a month and a half\u2013, with scarce publicity and a Committee of Experts presided by the director general for Fine Arts and Cultural Goods \u2013which makes us think that the Ministry ultimately wants to control a proposal that should be ratified by the Board\u2013, the call for candidacies for the position of director of the MNCARS has been announced. <\/p>\n

Now we have to wait and see the results of this hasty announcement, which aimed to attract the international scene. In any case, there is no need to look for ideal candidates for the position outside Spain, although we do not know whether they would be encouraged to present their credentials. For instance, we could suggest professionals like Orlando Britto, Miguel Fern\u00e1ndez Cid, Gloria Moure or Pablo Rico, among others, whose expertise as directors of different cultural institutions and as curators of many exhibitions would guarantee their talent. At any rate, this is not just about organising exhibitions; it is also about directing, managing, a collection that should grow with certain degree of rigour, if we want to make the Reina Sof\u00eda a sound art institution in the 21st century. <\/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 236 En julio, un cambio en el Gobierno de Espa\u00f1a llev\u00f3 a C\u00e9sar Antonio Molina, periodista, poeta, escritor y director del Instituto Cervantes, a ocupar la cartera de Cultura, en sustituci\u00f3n de Carmen Calvo, la ministra que m\u00e1s confusi\u00f3n aport\u00f3 al funcionamiento del Museo […]<\/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-46171","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\/46171","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=46171"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46171\/revisions"}],"predecessor-version":[{"id":48396,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46171\/revisions\/48396"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46171"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}