{"id":46172,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46172"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"la-simpleza-simplicity","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/la-simpleza-simplicity\/","title":{"rendered":"La simpleza \/ Simplicity"},"content":{"rendered":"

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

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 235<\/p>\n\n

\u00c9ste ha sido un fin de temporada muy movido en el mundo del arte. En nuestro caso, despu\u00e9s de descubrir que el peor pabell\u00f3n nacional de I Giardini en la Biennale di Venezia era el de Espa\u00f1a \u2013apenas alcanzado por Canad\u00e1 en su exasperante mediocridad\u2013, hemos padecido una traves\u00eda del desierto en la deplorable Documenta 12 de Kassel, donde la ausencia de buen arte y buen hacer curatorial amenaza con socavar ir reme diablemente la buena fama de este evento. <\/p>\n

En ambos casos, el arte espa\u00f1ol ha salido muy mal parado. En el Pabell\u00f3n de Espa\u00f1a en Venecia, encontramos una dif\u00edcil amalgama de obras del fot\u00f3grafo Manuel Vilari\u00f1o, del inexperimentado Rub\u00e9n Ramos Balsa, del cineasta Jos\u00e9 Luis Guer\u00edn y de una pareja de malos comediantes llamados \u201cLos Torreznos\u201d (nombre a primera vista m\u00e1s apropiado para una taberna de mala muerte en una calleja olvidada de la Espa\u00f1a profunda, pero que se revela perfectamente adecuado a la cala\u00f1a de lo que proponen sus portadores). \u00c9stos \u00faltimos dieron la nota la noche de la desorganizada fiesta del Pabell\u00f3n de Espa\u00f1a en el Palazzo Zenobio, en Venecia, en donde presentaron una infame pseudo performance <\/em> (que dio paso a un bufet al que se lanzaban los hambrientos asistentes como una jaur\u00eda). Resultaba imposible no sentirse soliviantado ante el indignante espect\u00e1culo elevado al nivel del arte gracias a la esclavitud de la promoci\u00f3n de las comunidades aut\u00f3nomas llevada a sus m\u00e1s absurdas consecuencias. <\/p>\n

En lo que ata\u00f1e a la Documenta 12, en Espa\u00f1a se ha mostrado desde el principio una tibia reacci\u00f3n a un oprobio de los m\u00e1s crispantes que pueda haber urdido la cabeza de un memo: la selecci\u00f3n de un cocinero como si fuera lo mejor que ofrece el medio art\u00edstico espa\u00f1ol. Recordemos la aseveraci\u00f3n, hace unos meses, del director de la Documenta 12 sobre su decisi\u00f3n de incluir al chef Ferran Adri\u00e0 en la exposici\u00f3n: \u201cHoy no hay nadie en Espa\u00f1a, de esa generaci\u00f3n, que se pueda comparar con su nivel de inteligencia formal\u201d. Roger M. Buergel invit\u00f3 a Adri\u00e0 a participar en la Documenta pensando que hab\u00eda tenido una genial idea. Al parecer, tambi\u00e9n los ac\u00f3litos de Adri\u00e0 creyeron que ser\u00eda una brillante idea que la cabeza visible de ese entramado de negocios que representa el cocinero tomara parte en un evento art\u00edstico, aunque hasta hoy todos ellos han demostrado no tener ni idea de qu\u00e9 es eso de la Documenta. No se cansan de hablar de la \u201cferia\u201d Documenta, al igual que los desinformados periodistas de la prensa generalista. Muy mal ha desempe\u00f1ado Buergel su papel si ni siquiera ha conseguido explicarle a Adri\u00e0 y a su cohorte que la Documenta no es una feria de arte. Precisamente el detalle del s\u00e9quito que sigui\u00f3 a Adri\u00e0 hasta Kassel es uno de los m\u00e1s curiosos de cuanto rodea a esta triste ocurrencia. Colaboradores, colegas (Juan Mari Arzak y sus hijas, Andoni Luis Aduriz…) viajaron todos juntos a Kassel para los d\u00edas del preview <\/em>. \u00bfSer\u00e1 ese multitudinario viaje el destino que han tenido las \u201cayudas\u201d que la Sociedad Estatal para la Acci\u00f3n Cultural Exterior ( seacex ), el Ayuntamiento de Roses y el Patronato de Turismo Costa Brava Pirineu, adem\u00e1s de Caixa Girona, han aportado para la participaci\u00f3n fantasma de Adri\u00e0 en la Documenta? Eso, aparte de la bobada, que algunas de estas entidades est\u00e1n costeando, de invitar desde Kassel a dos personas a comer al restaurante de Adri\u00e0 en lo que dure la Documenta. As\u00ed, el restaurante de Adri\u00e0 ser\u00e1 durante los tres meses de la Documenta un \u201cpabell\u00f3n\u201d deslocalizado de la muestra, lo que Buergel se ha cre\u00eddo que es un invento suyo muy original, como tambi\u00e9n se cree que lo es el pintar las paredes de las sedes de exposici\u00f3n de colores o disponer arte moderno y contempor\u00e1neo junto a piezas hist\u00f3ricas… <\/p>\n

En lo que refiere a Adri\u00e0, es evidente que lo mucho que sabe de cocina lo ignora sobre el arte, y seguramente sobre la alta cultura en general. De lo contrario, habr\u00eda desconfiado de la necia propuesta de Buergel. En cambio, Adri\u00e0 se ha querido autoconvencer de que un documental sobre su restaurante en la cadena Arte y unas cuantas iniciativas interesadas \u2013como la exposici\u00f3n de obras de segunda relacionadas con sus platos que se puede ver hoy en Barcelona en una galer\u00eda desconocida\u2013 son ya aval suficiente para ingresar en la historia del arte. Ni Buergel ni Adri\u00e0 ni los colaboradores del cocinero se dan cuenta de que la historia del arte de estos tiempos no se escribir\u00e1 con lo que publican los rotativos. Como buen \u00eddolo de pies de barro, Adri\u00e0 se ha dejado atrapar por el torbellino de su propia fama. Y Buergel, jact\u00e1ndose, ingenuo, de lo que ha conseguido aprender del arte, se ha limitado a proferir la frase \u2013reproducida hasta la saciedad en los grandes medios de comunicaci\u00f3n\u2013: \u201cLa pregunta de qu\u00e9 es arte y qu\u00e9 no lo es dej\u00f3 de tener importancia hace tiempo\u201d… No se ha enterado Buergel de que esa pregunta sigue tan fresca como en los primeros tiempos en que el arte pl\u00e1stico entr\u00f3 en el Olimpo de las grandes manifestaciones art\u00edsticas, all\u00e1 por las postrimer\u00edas del siglo xv . Es, de hecho, la cuesti\u00f3n que alimenta los m\u00e1s ricos debates de la teor\u00eda del arte desde mediados del siglo xx . Pero Buergel ha decidido hablar para los medios de gran tirada y ha aspirado a atraer a Kassel a la televisi\u00f3n y los medios especializados en turismo y gastronom\u00eda gracias a la maniobra medi\u00e1tica de poner el nombre de un cocinero estrella entre nombres de artistas. \u00bfQu\u00e9 le puede importar que esta Documenta 12 pase a la historia del arte como un peligroso s\u00edntoma de la precipitaci\u00f3n al abismo de ese gran evento? Por su parte, Adri\u00e0 se ha cre\u00eddo que con esta estratagema le coronar\u00edan con los laureles de haber llevado la cocina al altar de la m\u00e1s elevada cultura. \u00bfExiste un arte culinario <\/em>? Quiz\u00e1s. Pero, \u00bfes asimilable a las artes visuales? Da verg\u00fcenza que siquiera se haya pretendido plantear tan barato argumento en un evento que, como Documenta, se hab\u00eda convertido en los \u00faltimos treinta a\u00f1os en el escaparate por excelencia de las soluciones y discursos est\u00e9ticos m\u00e1s sofisticados del mundo del arte occidental. <\/p>\n

Simplicity <\/strong><\/p>\n

The season went out with a bang for the art world. In our case, after discovering that the worst national pavilion at I Giardini in the Venice Biennale was the Spanish proposal \u2013with the Canadian Pavilion coming in at a close second with its exasperating mediocrity\u2013 we then endured a desert crossing during the deplorable Documenta 12 in Kassel, where the absence of good art and good curatorial work threatens to inevitably undermine the event’s good fame. <\/p>\n

In both cases, Spanish art is left in a very bad place. The Spanish Pavilion in Venice accommodates a difficult amalgam including works by photographer Manuel Vilari\u00f1o, an inexperienced Rub\u00e9n Ramos Balsa, filmmaker Jos\u00e9 Luis Guer\u00edn and a duo of bad comedians called \u201cLos Torreznos\u201d (in Spanish the name means \u201crashers of bacon\u201d and would seemingly be more suited to a grotty canteen in a long-forgotten street in the heart of Spain, although it actually goes perfectly with the duo’s horrible proposals). The latter made a spectacle during the unorganised party staged by the Spanish Pavilion at the Palazzo Zenobio, in Venice, where they presented a loathsome pseudo performance (which gave way to a buffet that the starved attendants jumped on like a pack of hounds). It was impossible to not feel rebellious after watching that outrageous show elevated to the level of art by the slavery of promoting autonomous regions taken to its most absurd consequences. <\/p>\n

As regards Documenta 12, from the outset Spain showed a lukewarm reaction to one of the most annoying dishonours to be concocted by an idiot: the selection of a chef as the best option from the Spanish artistic medium. It is important to recall the affirmation made, a few months ago, by the director of Documenta 12 regarding his decision to include chef Ferran Adri\u00e0 in the show: \u201cCurrently, no one in Spain, from that generation, can compare to his level of formal intelligence.\u201d Roger M. Buergel invited Adri\u00e0 to take part in Documenta thinking that he had had a brilliant idea. It seems that Adri\u00e0’s acolytes also thought it would be a great idea for the visible head of the business fabric that the chef represents to take part in an artistic event, although to date none of them have proven they have any idea of what that Documenta is. They incessantly talk about the Documenta \u201cfair,\u201d as do the uninformed journalists from the general media. Buergel has done a very bad job if he has not even been able to tell Adri\u00e0 and his cohorts that Documenta is not an art fair. Precisely the detail of the entourage that followed Adri\u00e0 to Kassel is one of the most curious among all the incidents that surround this sad event. Contributors, colleagues (Juan Mari Arzak and his daughters, Andoni Luis Aduriz…) all travelled to Kassel for the days of the preview <\/em>. Was this multitudinous trip paid for by the \u201cgrants\u201d that the State Society for Foreign Cultural Action ( seacex ), the Council of Roses and the Costa Brava Pirineu Tourist Board, as well as Caixa Girona, provided for Adri\u00e0’s ghost participation in Documenta? Not to mention the foolishness, which some of these institutions are paying for, of taking two people from Kassel to eat at Adri\u00e0’s restaurant for the duration of Documenta. Thus, during the three months Documenta is on show, Adri\u00e0’s restaurant will be a delocalised \u201cpavilion,\u201d which Buergel has believed to be a very original invention of his, the same as painting the walls of the exhibition venues in bright colours or positioning modern and contemporary art alongside historical pieces… <\/p>\n

As regards Adri\u00e0, obviously his extensive knowledge on gastronomy is comparable to his ignorance regarding art, and most certainly about high culture in general. Otherwise he would not have trusted Buergel’s brainless proposal. Conversely, Adri\u00e0 has wanted to convince himself that a documentary about his restaurant on the channel Arte and a few interested initiatives \u2013like the exhibition of second-class works linked to his dishes currently on show in Barcelona at an unknown gallery\u2013 are already proof enough to enter art history. Neither Buergel nor Adri\u00e0 nor the chef’s contributors realise that art history in our times will not be written using what is published in the papers. Like all idols with feet of clay, Adri\u00e0 has let himself get caught up by the whirlwind of his own fame. Buergel, bragging, na\u00efvely, of what he has learnt from art, simply uttered the words \u2013which have been reproduced over and over again in the media\u2013: \u201cThe question of what is and what is not art stopped being important a long time ago\u201d… Buergel has not heard that that question is still as fresh as when it first emerged, when plastic arts entered the Olympus of major artistic manifestations, back in the late 15 th century. It is, in fact, the issue that has been fuelling the wealthiest debates since the mid-20 th century. Yet Buergel has decided to talk to the mass media and has aspired to attract television and media specialised in tourism and gastronomy to Kassel thanks to the manoeuvre of placing the name of a renowned star chef among the names of the artists. What is it to him if this Documenta 12 goes down in art history as a dangerous symptom of the downfall of this grand event? Adri\u00e0, on the other hand, has thought that with this stratagem he would be crowned with the laurels of having taken cooking to the most elevated altar of culture. Is there a culinary <\/em>art? There may be. Yet, can it be compared to visual arts? It is embarrassing to see a curator attempting to support such a cheap argument at an event, like Documenta, which over the last thirty years had become the quintessential showcase of the most sophisticated solutions and aesthetic discourses in the Western art world. <\/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 235 \u00c9ste ha sido un fin de temporada muy movido en el mundo del arte. En nuestro caso, despu\u00e9s de descubrir que el peor pabell\u00f3n nacional de I Giardini en la Biennale di Venezia era el de Espa\u00f1a \u2013apenas alcanzado por Canad\u00e1 en su exasperante […]<\/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-46172","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\/46172","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=46172"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46172\/revisions"}],"predecessor-version":[{"id":48397,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46172\/revisions\/48397"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46172"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46172"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}