{"id":46173,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46173"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"la-custodia-del-arte","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/la-custodia-del-arte\/","title":{"rendered":"La custodia del arte"},"content":{"rendered":"

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

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 234<\/p>\n\n

Hace unos d\u00edas tuvimos noticia del estado de abandono de una obra del artista dominicano Marcos Lora Read realizada con motivo del II Encuentro Internacional de Arte Contempor\u00e1neo que se llev\u00f3 a cabo en 2003 en Osorio, un espacio natural de la Isla de Gran Canaria (ver L\u00e1piz, a\u00f1o XXII [n\u00fam. 194], junio de 2003, pp. 74-77). Se trata de la escultura titulada Emersi\u00f3n atl\u00e1ntica <\/em>, <\/em>producida por el Cabildo de Gran Canaria, que yace tirada en un solar del municipio de Agaete, rota y oxidada, muy lejos del Jard\u00edn Canario, lugar donde el Cabildo se comprometi\u00f3 en su d\u00eda a instalarla definitivamente. <\/p>\n

Que el atentado proviniera del \u00e1mbito privado ser\u00eda grave, pero que sean precisamente las instituciones p\u00fablicas o los museos los que infrinjan la ley por dejadez, por falta de la debida guarda y custodia de las obras, es inaceptable. Son muchos los casos de obras ultrajadas en estos \u00faltimos a\u00f1os, tanto en Espa\u00f1a como en otros pa\u00edses. Recordemos la escultura Equal-parallel\/Guernica-Benasi <\/em>, de Richard Serra, que, con un peso de 38 toneladas y un precio de 217.000 \u20ac (un monto notable cuando fue adquirida, en 1986) desapareci\u00f3 de los fondos del Museo Reina Sof\u00eda despu\u00e9s de haber sido confiada, en 1992, a una empresa especializada en el almacenaje de obras de arte. Su desaparici\u00f3n se descubri\u00f3 en 2006, tras permanecer un largo per\u00edodo en el olvido. Podemos reme morar tambi\u00e9n c\u00f3mo en la Tate Britain se envi\u00f3 a la basura, en 2004, una de las piezas del conjunto escult\u00f3rico Recreaci\u00f3n de la Primera Manifestaci\u00f3n P\u00fablica de Arte Destructivo <\/em> (1960), de Gustav Metzger, al ser confundida con una bolsa de desperdicios aut\u00e9ntica <\/em>; o la incineraci\u00f3n en Frankfurt, en 2005, de una escultura urbana de Michael Beutler a instancias del responsable de Sanidad de la ciudad, que fue incapaz de distinguirla de la cochambre. Y la instalaci\u00f3n de Damien Hirst que la encargada de la limpieza de la galer\u00eda Eyestorm de Londres tir\u00f3 a la basura. O, m\u00e1s recientemente, la indemnizaci\u00f3n de 350.000 libras esterlinas a la que fue condenada la empresa brit\u00e1nica responsable del almacenamiento de una obra de Anish Kapoor, propiedad del coleccionista suizo Ofir Scheps, que, probablemente por su parecido a una v\u00edscera, acab\u00f3 en un contenedor de escombros. <\/p>\n

En todos los casos, nos encontramos con errores de custodia de los que tuvieron que dar cuenta, judicialmente o ante la opini\u00f3n p\u00fablica, sus responsables y en los que no parece haber existido una deliberada intenci\u00f3n de da\u00f1ar la integridad de la obra ni la reputaci\u00f3n del artista. Sin embargo, parece que el caso de la obra de Lora Read podr\u00eda tipificarse de una forma menos ben\u00e9vola, en tanto que una instituci\u00f3n del Estado como lo es el Cabildo Insular de Gran Canaria se ha saltado a la torera su obligaci\u00f3n de cumplir y hacer cumplir el art\u00edculo 14 de la Ley de Propiedad Intelectual, la cual, a lo que se ve, es para algunos responsables de la pol\u00edtica cultural tan molesta e incomprensible como el arte contempor\u00e1neo que deber\u00edan proteger. <\/p>\n

The custody of art <\/p>\n

We recently heard about the state of neglect of a work Dominican artist Marcos Lora Read created for the ii International Contemporary Art Encounter staged in 2003 in Osorio, a natural setting on the island of Gran Canaria (see L\u00e1piz, year XXII[no. 194], June 2003, pp. 74-77). The sculpture, entitled Emersi\u00f3n atl\u00e1ntica <\/em>, <\/em>was produced by the Cabildo de Gran Canaria and now lays strewn in a plot in the municipality of Agaete, broken and rusty, nowhere near the Jard\u00edn Canario, where the Inter-Island Council promised to install it definitively. <\/p>\n

It would be serious if the attack had been caused by a private entity, but the fact that public institutions and museums break the law out of sheer laziness, or by lacking to implement due custody of the works, is unacceptable. There are many cases in which works have been offended, both in Spain and abroad. This occurred to Richard Serra’s sculpture Equal-parallel\/Guernica-Benasi <\/em>, which, weighing 38 tonnes and worth \u20ac 217,000 (an important sum back in 1986 when it was bought), disappeared from the Reina Sof\u00eda Museum’s collection after it was entrusted to a company that specialised in storing works of art in 1992. It was declared missing in 2006, after its disappearance had gone unnoticed for a long time. Another example occurred in 2004, when the Tate Britain threw away one of the piece that composed Gustav Metzger’s sculptural ensemble Recreation of the First Public Demonstration of Auto-Destructive Art <\/em>(1960), when it was mistaken for a real <\/em>bag of rubbish. Or when an urban sculpture by Michael Beutler was incinerated in Frankfurt, in 2005, as requested by the city’s Health director, who was incapable of distinguishing it from the trash. Or when a cleaner in the Eyestorm gallery in London threw away the Damien Hirst installation. Or, more recently, the 350,000 pound compensation to be paid by the British company in charge of storing a work by Anish Kapoor, owned by Swiss collector Ofir Scheps, which ended up in the trash, probably because it looked like entrails. <\/p>\n

In all these cases, these errors regarding the custody of the works should have been disclosed, judicially or in front of the public opinion, by the people in charge of them, although there does not seem to have been a deliberate intention to damage the integrity or reputation of the artist. However, Lora Read’s case could be categorised less benevolently, given that a State institution like the Cabildo Insular de Gran Canaria has disregarded its obligation to fulfil and demand the fulfilment of article 14 of the Ley de Propiedad Intelectual (Law on Copyright), which for some of the people in charge of the cultural policy seems to be, or is, as awkward and incomprehensible as the contemporary art they should be protecting. <\/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 234 Hace unos d\u00edas tuvimos noticia del estado de abandono de una obra del artista dominicano Marcos Lora Read realizada con motivo del II Encuentro Internacional de Arte Contempor\u00e1neo que se llev\u00f3 a cabo en 2003 en Osorio, un espacio natural de la Isla […]<\/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-46173","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\/46173","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=46173"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46173\/revisions"}],"predecessor-version":[{"id":48398,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46173\/revisions\/48398"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46173"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46173"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46173"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}