Pablo Rubio en cantos
Una buena idea...y el Nuevo Día sigue bien atrás:
Arte Público en deterioro
Hace un tiempo salgo a caminar y casi donde quiera que uno camina se encuentra con arte público reciente y no reciente, malo y bueno. El punto que me lleva a escribir y documentar es el estado en que muchas de estas piezas se encuentran. Luego de invertir tantos miles en estas piezas para crear un ambiente donde la cultura sea parte de la vida cotidiana de este país, estas obras lo que dan es grima y pena. No hay plan de mantenimiento, se destrozan dejando perder un legado cultural. Lo que más me choca es saber que no se ve un reclamo de los artistas ni de los museos de proteger las mismas. Se que muchos pasamos por el lado de las mismas, nos lamentamos y nos da coraje pero ya tan pronto las dejamos de ver se nos olvida.
dónde veo arte
Pablo Rubio en cantos
Todos tenemos lagunas ante lo que realmente esta pasando. Por un lado se encuentran los que “apoyan” (leanlo bien), “apoyan” al MAC con ciertas condiciones y argumentos que son totalmente validos para un apoyo incondicional. Los mismos que desean una restructuración de la instituciónbasándose en modelos económicos y administrativos sustentables a si mismos, o mejor dicho, una administración funcional, lógica y economicamente estable, que no dependa de un gobierno igualmente mediocre para lograr sus objetivos. Y con estas personas me refiero a un grupo de profesionales de entero crédito y los cuales tienen experiencia laboral en instituciones de este tipo. Y aun no menciono a los tantos artistas que han visto y están cansados de tanto mangoneo y control pendejo por parte del MAC.
De otra parte están los que brindan su apoyo de forma incondicional, que me imagino que han leído y estudiado la documentación y la evidencia que tiene el MAC de todos sus procesos administrativos, desde sus inicios hasta el presente. Me imagino que tienen toda la botella aprendida para apoyar incondicionalmente y seguir en el mismo barco con el museo.
De parte del museo se han mal interpretado las peticiones y opiniones que con justa razón y circunstancias se piden. Colocando respuestas. declaraciones y argumentos que no vienen al caso, simplemente porque son directrices, responsabilidades y funciones “totalmente normales” de una institución de este tipo. Lo que pedimos son logros que lleguen a oídos internacionales, de iniciativas innovadoras, y proyectos que no terminen olvidados en archivos de los cuales solo unos pocos se beneficien.
leer más en Trance Líquido
aquí un buen consejo que me dieron una vez y que todavía funciona respecto a dealers que se portan mal:
" ...that's why the best advice I can offer if you're faced with what you believe is a sleazebag dealer is to meet individually with other artists who have shown in that gallery and subtlety probe about their experience. If you find others in the same boat then approach them about acting together. One artist complaining about a dealer might be (mis)interpreted as a Prima Donna, but several with the same story will turn the tide and convince other artists and dealers that there's a problem there, if they go public."
y para los que son perseguidos, amedentrados y acosados por e-mail...incluyendo a los stalkers que editan y alteran conversaciones y luego las pasan como historias reales en masa por ahi para poner a la escena en estado de emergencia, ustedes lo conocen:
y sites relacionados:
1. Gallery Owe from Vancouver
2. Art Watch Dog
art watch dog
Bad Galleries is dedicated to all the people who cannot live any other way. They are blessed and cursed with who they are. They live in their studio's or offices and work at odd jobs as the art handlers, the teachers, and whatever creative solution they have imagied for the moment. Parents did everything they could to keep them from a 3rd world life in the land of dreams, and yet they live cloak and dagger in concrete bunkers without running water or heat, with only sometimes a trusty dog. Lovers often charmed by their life come and go, and with them go the promise of daily showers and kitchen luxuries like pancakes and steamed vegetables. They give up everything for what they need to be healthy, a studio practice and a safe place to do it.
This site was not made with Sunday Painters, or "artist's" who make what looks like art they think will get them a dealer. It was made for those without a choice, who have lived other lives and could never, be content. Those with vision and a need to share it. And that deserves respect.
Idealistic. Yes. Romantic...you bet ya. And perhaps that is what is missing form art today. Perhaps that is a part of the reason why it is impossible for artists to gain the stature of a DeKooning ever again. But don't patronize that attitude as stupidity, or even hopeful. It is simply an attempt for something else, as what we have doesn't seem to work.
Disgust with the current system of galleries and how both art and artists are treated fuels this. Art Fairs are atrocious displays of what art shouldn't be. Who thought it would be a good idea to rip the context from an object place it in a room with a million other such rapped ideas, and sell them to people who have never taken even one art, anthropology or philosophy class and are mostly collecting them as a way to potentially fund a beach house a few years down the road and one up there friends. And the dealers seem more concerned with finding the next hip thing, unconcerned with the longevity or quality of voice. Why, because they can sell that, it’s fresh. But young wine is never the best wine; it’s just the quickest sell, especially if you put it in a drink box for convience. Couple that with the fact that artist often will not get paid promptly or at all, or are completely treated as the little dancing monkey of the dealer, or patronized into the bar to play with their little friends while the grown ups do business. Three years later, that artist used up by the system disillusioned and confused sells fish prints in the park on Sunday's and drinks 40's of malt liquor for breakfast.
And Academia is often no better. Often academic galleries are run without budgets, or by student workers who don't have the common sense to actually do the job. Often the facilities are so understaffed and cared for that the same beige rug has covered the walls since 1970. So who gets screwed but the artist trying to show there, often finding out way too late and hundreds of shipping dollars later that spackle cannot fix this one. The artist becomes responsible for the cost. Wouldn't it be better if the large supposedly professional institution charged with enabling the next generation of our countries leaders could seem to muster even a morsel of finacial humanity for those who struggle to share their ideas. When did everything become the responsibility of the artist? Shipping, cards even the supposed privilege of the application.... charged to the artist...who I might remind you is living without their own bathroom in a old storage locker in a bad part of town.
Which brings me to vanity galleries. Galleries you can buy yourself into, despite quality of idea or craftsmanship. I have only one thing to say about that. If you have to buy your way in, you don't belong.
That having been said, artists need galleries to show there work and they need people to sell that stuff they make so that they can make more. Because we have galleries, and museums we are not simply crazy homeless people running around with tiny bits of colored mud on our clothes. They are a necessary evil. Dealers to can come in handy when all we want to do is pee in the fireplaces of collectors and have random sex with their sons and daughters. They can not only sell your stuff so you can make more, they can make you look respectable and get people to notice your contribution and not your weaknesses. A really good gallery will make your weaknesses seem like strengths.
That is why I started this site. So we can find those galleries that are the least evil. Those galleries who will treat you with the respect you deserve and take advantage of you the least. So as a professional you can make a professional and informed judgement.
And finally I asked myself why so many artists get caught up with bad galleries, we all have at least one story of a gallery that you wouldn't send your worst enemy too. WHY DO GALLERIES GET AWAY WITH IT. The answer was simple. Because we let them. We are not organized as a group, nor did we have a format.
Welcome, my friends to Bad Galleries........ this is all for you.
Creator / Editor