SEMINAR "THE VALUE OF ART"
ART WORKSHOP Rada Tilly (Chubut)
LAST MEETING
JOSE LUIS TUÑÓN *
joseluistunon . blogspot.com
http://boladenieve.org.ar/node/8014
What value is asked to art? Case of the last meeting and it must be said: it is a rare value that never finds its measure. A value of arguably worthless. But how? If every so often sell some paintings at exceptional prices? That's right: exceptional. Underscore the exception, which is what he is capable of being reduced to a common measure. These figures border on the free, never clear on which they rest. Sometimes it seems to be the quality of the work, others, the artist's career or his genius, but are only the data needed for that operation does not fall into utter nonsense. To avoid this device is built to assess mentioned at the beginning of the seminar. Apparatus made of museums, galleries, critics and curators to maintain the value of the works, anthology, discoveries, reinterpretations, and tributes to the classics. This weapon that certainty in the value we call art history.
seeks to sustain that value is - paradoxical - Whose function is to prevent its value is set, while keeping open its size. Otherwise the whole system would be fixed, collapsing the exchanges that rely on it. That is, almost everyone. The trade would be based on the notion of maintenance and reemplazararíamos things they no longer fulfill the functions - utility - for which they were created. Which support the role of novelty and value, would be angry and disappointed and would have to redefine the goals, progress and the very notion of change that relies entirely on the dichotomy of old / new.
Why anyone would want to divest an asset that appreciates, or still find it useful? Respuesta: porque hay otro que le gusta más. El gusto es una categoría que se desprende del uso, que es una dimensión que puede generalizarse o del aprecio, que es una variable subjetiva, propia de cada cual. Y sobre el gusto, como se dice, no hay nada escrito. No puede fijarse nada. Se desliza en una dirección que en otros tiempos abría el arte. Hoy son los llamados medios masivos de comunicación. Subrayando los dos términos: masivos y comunicación. En lo masivo se abren brechas al gusto, espontáneas, brutales incluso. Y la comunicación las revela y comunica. Ahí vigila ese género periodístico que se alimenta de la apetencia por la miseria.
Por aquí llegamos a una de las impases del siglo XX and fuel the complaint that we studied. The controversy between art that sought to refine the taste, but putting his courage and his art that sought to spread to as many people.
And is not the only contradiction, there are others so foundational as this: that cutting it sought to establish the value and taste of the nation itself. And it promoted an art that emphasizes the values \u200b\u200bsuited to the taste. The identity for example. But, and here is the paradox, for it is had to resort to forms of non-nationals, are universal, though a nation was considered valuable only if it could be established with them. Paradox: the universal and local, another key we have covered in these meetings.
And more: for example, which seeks to define the national and cultural value, ie as taste worship, while distinguishing the uneducated. National and religious value that opposes the national uneducated. Sarmiento barbarism. Barbarie value recovered later as popular, populist movements, which did not require worship artists to define their tastes. And hovering above all this, the market, turning in their endless spare led by the nose of taste, a modeling taste quite different ways. Because once broken the major forms of taste, this is dispersed in a crazy process where the forms are replaced each other in all directions. Refined than the vulgar, exclusive than the massive, from the intimate to the public, to the obscene chaste, honest as the corrupt. Any of these variables can be combined in the formula of taste that is desperately seeking to keep open that value paradox.
Art is no longer enough to drive this process, neither national or local, or even universal, in the drive unleashed, is insufficient. The same mass of questionable media are able to keep the gap open curiosity and appetite. We usually turn on the TV waiting for the next stupidity that will be put on camera by the unscrupulous in power. And then there is perhaps a return to pastoral tastes like crave millennia. Or the medieval incommunicado, as doomsayers predicted. A universal market stabilized by a liberal democracy - even universal - it's very hard to believe. Especially for those who seek the renewal of love for guns and narcotics, for whom the value is a settled matter.
But what does this have to do with the value of art?! Has .. has, because I remember, the complaint that led to the seminar, said that no one worth anything (you can see the number 371, the magazine Ñ, in the letters section of reader is a verbatim record of the complaint) and the role art and the artist is uncertain. And it's true. Although the figures for museums. But is not pessimism, it's just revision of its role. Its potential is maintained. Be on the show, where art is still capable of summoning crowds, or in the field of intimacy, or communal, or familial, or whatever. The role of art and its value are being redefined. Not that is bad or good happens, and we accept it as the first, the easier it will be change.
* José Luis Tuñón
joseluistunon@gmail.com.ar
My name is Jose Luis Tunon and was born in Rio Gallegos in 1955. I live in Comodoro Rivadavia in 1984 where he worked as an artist and psychoanalyst. I did my initial training in La Plata in both disciplines. Then, these two practices were far apart, are now two ways that allow me to understand the culture and the discursive field that shapes the ways of enjoyment.
As background I quote the different opportunities that the Antorchas Foundation supported my work. And as a turning point, my participation in the Days of Contemporary Art Criticism and General Roca. I exhibit regularly individually, but more often in thematic exhibitions. I got some awards that I think are important and other times forgettable. I am thrilled to think critically about art as writing articles or lectures, most of which remain unpublished.
Call uselessness of art bothers me, what drives me to do that I particularly community interventions. The need to uphold the practice among several has led me to integrate more or less formalized organizations: Singing Seven, meeting of friends dedicated to the support and affection. PORT Cultural Association, whose work set the public agenda - building included - Commodore Cultural Center. And I assumed duties as Assistant Secretary of Culture in the period 2004/2007.
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