{"id":46177,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46177"},"modified":"2026-03-10T08:34:53","modified_gmt":"2026-03-10T08:34:53","slug":"jugando-a-organizar-exposiciones-playing-at-curating-exhibitions","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/jugando-a-organizar-exposiciones-playing-at-curating-exhibitions\/","title":{"rendered":"Jugando a organizar exposiciones \/ Playing at curating exhibitions"},"content":{"rendered":"

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

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 229<\/p>\n\n

Un nuevo gurú despunta en el horizonte de las macroexposiciones internacionales. Es Robert Buergel, que viene a adoctrinarnos acerca de la ausencia de límites entre la vida y el arte, a cuento de su papel como comisario de la próxima Documenta, que inaugurará en Kassel en junio de este año. <\/p>\n

Buergel piensa, según afirma en una entrevista concedida a El País <\/em>, que su exposición movilizará a la sociedad en un plano global, que la hará tomar conciencia de su papel en el engranaje de la vida política. Cree también \u2013y habría que ver si se atrevería a proclamar tal despropósito si tuviera que referirse al arte alemán\u2013, que el hipermediático y superalabado cocinero Ferran Adriá es el único español que merece participar en la Documenta 12, pues \u201choy no hay nadie en España, de esa generación, que se pueda comparar con su nivel de inteligencia formal\u201d. Se escuda en el antecedente de Catherine David, directora de la Documenta x , que \u201cinvitó a un artista tailandés que cocinaba\u201d. En efecto, David invitó al artista Matthew Ngui \u2013de Singapur, no de Tailandia\u2013, que ha utilizado la cocina como parte de su lenguaje expresivo, pero en cuya obra el elemento \u201ccomida\u201d es apenas un componente más, bastante esquemático (en su papel de símbolo), de una puesta en escena compleja, que refiere a estructuras y comportamientos sociales. <\/p>\n

Buergel, en cambio, ha invitado a un cocinero a hacerse pasar por artista, después de que un colega español le llevara a probar su restaurante. Y no ha explicado todavía qué tiene que ver la inteligencia formal de un cocinero con la creatividad artística. Habrá quienes pretendan cuestionar por qué aquello no es arte, cuando lo que tendrían que probar es por qué habríamos de suponer que lo es. Con la regla de tres de Buergel, hemos de esperar ver en la Documenta a los más variopintos representantes de tantas profesiones \u201ccreativas\u201d como hay. <\/p>\n

Nuestra conclusión es que Buergel pretende a estas alturas reinventar los conceptos de arte. No se enteró de lo que ha venido ocurriendo en los últimos cincuenta años. O bien, busca simplemente engancharse al carro del famoseo, pues es obvio que la notoriedad de Adriá supera ya con creces la de cualquier megaevento artístico. ¿O es que se ha sentido tocado por la varita de la creatividad artística? Pues, según ha admitido Adriá hace un par de meses, el suyo será, cómo no, un \u201cproyecto conjunto\u201d con Buergel. <\/p>\n

La herencia duchampiana ha conllevado que hoy cualquier cosa pase a ser arte por el simple proceso de ser seleccionada por un artista, pero, al parecer, para el señor Buergel los artistas valen ya tan poco que él mismo puede suplantarlos, convirtiendo sus propias ocurrencias en arte. Y lo más alarmante de todo es ver cómo se prodiga Buergel en los foros españoles últimamente, invitado, claro está, por colegas suyos de la Península. ¿No hay entre éstos nadie que le haya cuestionado la simpleza de sus declaraciones? No, no parece que ninguno de los que invitan a Buergel a estos encuentros y conferencias sienta necesidad de defender el peso y relevancia de tantos artistas españoles de la generación de Adriá que trabajan hoy en España. ¿Será que comparten sus ideas acerca del arte español? <\/p>\n

Playing at curating exhibitions <\/p>\n

A new guru is making an impression on the horizon of international macro-exhibitions. His name is Robert Buergel, and he comes to indoctrinate us on the absence of limits between life and art, given his role as curator of the forthcoming Documenta, which will open in Kassel in June this year. <\/p>\n

In an interview granted to El País <\/em>, Buergel stated that his show will move society globally, and will make it aware of its role as part of the machinery that moves political life. He also believes \u2013we would like to see if he would dare to proclaim such nonsense regarding German art\u2013, that over-exposed and super-praised chef Ferran Adriá is the only Spaniard worthy of taking part in Documenta 12, since \u201cthere is no one in Spain today, from that generation, who can be compared with his level of formal intelligence.\u201d He hides behind the precedent set by Catherine David, director of Documenta x , who \u201cinvited a Thai artist who cooked.\u201d Indeed, David did invite artist Matthew Ngui \u2013from Singapore, not Thailand\u2013, who has used cooking as part of his expressive language, although in his work \u201cfood\u201d is merely another component, and quite schematic at that (in its role as symbol), of a complex creation, that refers to structures and social behaviours. <\/p>\n

Buergel, however, has invited a chef to play the artist, after a Spanish colleague took him to try his restaurant. He has still not explained what a chef’s formal intelligence has to do with artistic creativity. Some will attempt to question why it is not art, when what they should be proving is why we should suppose that it is. According to that rule, we should expect Buergel’s Documenta to include the most mixed representatives of as many \u201ccreative\u201d professions as there are today. <\/p>\n

Our conclusion is that Buergel is attempting to reinvent the concepts of art at this stage of the game. He has clearly missed out on what has been happening over the last fifty years. Either that or he simply wants to jump on the celebrity bandwagon, since Adriá’s fame undoubtedly exceeds that of any artistic mega-event. Or does he think he has been touched by the wand of artistic creativity? Since, as Adriá admitted a few months ago, his undertaking will, obviously, be a \u201cjoint project\u201d created with Buergel. <\/p>\n

Duchamp’s heritage in our times has led to anything being considered art by the simple process of being selected by an artist, but, it seems that for Mr Buergel artists are worth so little now that he himself can replace them, turning his own occurrences into art. The most alarming thing is to see how present Buergel is in the Spanish sphere, evidently invited by his colleagues from the Peninsula. Have none of them questioned the simplicity of his statements? No, it seems that none of the people who invite Buergel to these meetings and conferences feel the need to defend the importance and relevance of so many Spanish artists from Adriá’s generation who currently work in Spain. Could that mean that they agree with his ideas on Spanish art? <\/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 229 Un nuevo gurú despunta en el horizonte de las macroexposiciones internacionales. Es Robert Buergel, que viene a adoctrinarnos acerca de la ausencia de límites entre la vida y el arte, a cuento de su papel como comisario de la próxima Documenta, que inaugurará en […]<\/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-46177","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\/46177","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=46177"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46177\/revisions"}],"predecessor-version":[{"id":48402,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46177\/revisions\/48402"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46177"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}