Demasiado arte demasiado banal
Los directores de museos creen que proliferan las lax and redundant exhibitions
ANGELES GARCIA - Madrid - 29/03/2009
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Almighty Phillipe de Montebello, director of the Metropolitan in New York for over 30 years, just opened the box of thunder in the world of art to say that museums are suffering from exposure and that they have forgotten the essential: the permanent collections . Comics in the Louvre, graffiti at the Grand Palais, Picasso at the National Gallery and the Prado Bacon illustrate this point of confusion or evolution towards a different model. Do you make too many exposures? Do you seek more public? Need more income? Is there an ideal number of temporary exhibitions? Is it okay to break thematic and chronological borders?
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The museum officials deny having infected their centers virus that speaks exposicioncitis Montebello. Do believe that they do too and its rigor is not always demanding. They claim that their program is looking to spread knowledge, not making money. The majority believes that it should reflect on the borders that delimit the contents.
TODOLÍ VICENTE. TATE MODERN "We are not mausoleums"
Todolí Vicente leads one of the busiest museums, play at least six exhibitions a year. A majority simultaneously with another of worship. At the moment exposes Defining constructivism Popova Rodchenko & (will be the highlight of summer in the Reina Sofia) and the American artist Roni Horn. "I do not think at all that museums make too many exhibitions. We spend two thirds of the museum's permanent collection and temporary rest. I think the museum is required to perform them because they are the result of the research work of curators . In the world of science, researchers have their bulletins in the field of art, researchers shows. Otherwise, only specialists could access the discovery and analysis of individual artists and creative events that are displayed in exhibitions. If museums do not do this, they become mausoleums and cemeteries. No programs in terms of recovery. "
Todolí is one that welcomes the breakdown of borders museum. "I think very well. Of course, you must have a sense and be linked with the essence of the museum. We must also bear in mind that is very different to what is done in U.S. museums for what is done in Europeans. There, work with private funds, can deliver what they want. They only have to worry that the schedules do not clash. I do think the collections have to be very well defined and not suffer breaks or changes of mind crazy. "
Miguel Zugaza. THE PRADO "Real auctions"
Zugaza more groundbreaking is the director of the national scene. Has shown a performance with Miquel Barceló in the Cason del Buen Retiro, has exposed Bacon Twombly and now within the noble rooms of the museum. Of entry, agrees that the number of exposures is excessive. "In the world, and particularly in our country are many exhibitions. Traditionally, it was a practice reserved for museums and today has become a real auction. But in any case, what matters is not whether or not to do too but if you are responding to a real need. What I can guarantee is that there are many projects that we deny our partnership for its lack of rigor and the lack of seriousness of the organizing institutions.
As a rule, three exhibitions held annually Zugaza large and three small. The program is not capricious. "An exhibition in a museum like the Prado is the last phase a process of study and research. Not all studies reach that stage. Others remain in a book. This step can occur when the museum or the host institution has something important to communicate to the scientific community and its visitors. Furthermore, I personally believe that exposures are to interest as many people as possible. This is what justifies them to travel and meet works found scattered in different museums and collections. "
exposures are, in their view, a dynamic element to the public but with costs." In the case of the Museo del Prado ", he explains," an exhibition is a source of extraordinary expense. Try, from an economic standpoint, to cover these costs through sponsorship and ticket revenues. There are shows in which we succeed and sometimes not. For example, without government guarantee, it would be impossible to organize exhibitions such as Rembrandt and Bacon. The costs would be unassumable.
The incorporation of contemporary art in the program of exhibitions of historical museums respond to two factors, according to the director of the Prado. "One is historical and critical: the twentieth-century art history came to be like the art of previous centuries. The fact of the existence of historical consciousness of the vanguard of the last century creates an unavoidable reflection. Shows like of Picasso and Bacon contribute. On the other hand, we know that the actual art itself, the XXI century has clearly broken their isolation from the history and the artists who demand a new relationship with the past and the historical museum. There was the same in the past but perhaps we even more difficult for us to break the strong paradigm of the avant-garde art has been made against history. In any case, I think history museums must participate in this discussion but in a controlled manner. Not worth it. "
Jose Guirao. HOUSE ON" It feeds the industry "
The former director of the Reina Sofía and current head of the Lit House responds flatly that the number of exposures is too and that not all conform to the title under which they occur. "should be sought to provide new insights or discoveries in the field of art history, aesthetics or thought, the public and the artistic community, but in many cases they are pure content empty activity, which fuels most art small industry that the institutions that organized in terms of income. "
Guirao is wary of the transfer that theme among museums. For him, the barriers continue to make sense: "If these exhibitions and justified response to new readings of the museum's collection policies and mid-term and sustained in the ordinary activity the same as their research, that's fine. Otherwise it would be a bad example. "
Guillermo Solana. THYSSEN "There are many bad"
The chief curator of the Thyssen Foundation believes it is ironic that precisely is Montebello, the great inventor of temporary exhibitions in museums, which now denounces the model have been out of hand. "It's a self-mockery with which he means Montebello, who has presided over several decades the best museum in the world and has promoted golden age of museums through major exhibitions, is both what smart enough to see boundaries pushed model. "
Solana says samples that are too bad. "There are too many shows that are not what they promise, exhibitions that are titled for example Art Museum ... and consist of things dug out of the warehouses of the relevant museum. exhibitions are made for the occasion too, of those that come packaged and rented for a fee. By contrast, very few are really good, original, rigorous, attractive. Of the latter needed a lot more. "
Convinced that each school has to make the number of exposures that can take, says that what is always looking for more visitors. With expenses, the goal is met. "Contrary to what some seem to believe, make presentations is not a good business." For Solana, speaking of barriers, is absurd. "They are artificial. The history of art is one and the same before and after 1900. And the universal imaginary museum includes both the comic and the Mona Lisa."
KLAUS SCHROEDER. ALBERTINA "We delight"
The Albertina in Vienna is capable of combining three major exhibitions per season. Its director, Klaus Albrecht Schröder, is contrary to the limits and, if the public responds, there are no grounds for a reduction. "Experience shows that we can open a powerful new exhibition every three months. "
" Here we find the same phenomenon in the economy. The benefit is to arouse our interest. If there are visits, we offer a good product. Our first objective is to delight. If we make money with it better, because ideally the museums were self-sufficient ". With a bankroll of one million prints and 40,000 drawings, and
l Albertina is a museum" pioneer "in ancient art mix and contemporary programming. "I let it go unchecked is a very old-fashioned way to make programs in museums and in the XXI century should apply other criteria. "
Jiménez Burillo. MAPFRE" as in the books "
Mapfre Foundation is one of many private institutions that contribute to the growth of artistic offerings. Your director, Pablo Jiménez Burillo, believes the number may be excessive, but believes that, as in the book world, developments are needed. "The truth is that we could not imagine a publisher uneventful and now also a museum without exhibitions. It would, however, is a difference between exposures actually pose ways of seeing, views, news or works usually can not see and others that appear installed in a certain routine. "
Contrary to fix a number of exhibitions, believes that it is enriching the museums open their borders." In recent years people accustomed to do with the same ease the ancient art and modern and contemporary with the old chronological divisions are no longer useful. Also, see a contemporary artist in a historical museum gives a new perspective on it. Although we should not forget the principle of the exhibitions that have to do with their own collections. "
BORJA-Villela. REINA SOFIA "Consumption more than art"
Manuel Borja-Villel joined in recognizing that there is excess exposure. "Culture and art have become commodities, consumer items and, as such, appear for the exchange of goods rather than to knowledge or aesthetic experience. Hence museums often behave as event production centers designed to secure new markets and audiences. The result is overproduction that does not always provide too. The problem, however, is not made too many exhibitions, the problem is that many are simply banal because their ultimate goal is not aesthetic experience, but consumption. "
The director of the Reina Sofía is not keen to score a fixed number of samples exhibition." It would be like limiting the production of an artist or a writer. The important thing is to have ideas that explain and analyze. That said, it is true that there is a relationship between the scale of the center and the number and nature of exposures that may organize or hold it. "
tops the revolutionary initiative to include Goya prints in the permanent collection museum, Borja-Villel shown for all to expand borders. "I do not think that museums of modern and contemporary art out injured because the Prado or the National Gallery exhibition of contemporary art making. What we should ask is whether these historical museums or the artists themselves can be harmed by the fact that those discussions into areas that in principle are foreign. If art exhibitions of the twentieth century only to attract new audiences, we are making a mistake, betraying the mission for which the museums were conceived while fetishizing and regulated country an art which by definition is open. "
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