- Women artists with national prize
- The 20 most influential Spanish art
Overwhelming. That is what the perspective of sharing debate and tablecloth with these nine experts may seem like. Let's see: Maribel López , brand new director of the contemporary art fair in Madrid, ARCO; Manuel Borja-Villel , director of the Reina Sofía Museum; Guillermo Solana , artistic director of the National Museum Thyssen-Bornemisza Madrid; Manuel Fontán , director of Exhibitions of the Juan March Foundation; Carlos Urroz , director of the TBA21 Foundation, Thyssen-Bornemisza Art Contemporary; Marina Chinchilla , Deputy Director of Administration of the Prado Museum; Marta Rivera de la Cruz , Minister of Culture and Tourism of the Community of Madrid; Ángeles González-Sinde , former Minister of Culture, filmmaker, screenwriter and contributor to Yo Dona; Blanca Berasategui , director of the El Mundo El Cultural supplement, and the director of Yo Dona, Marta Michel .
The idea is that, throughout the meeting - this year at the Pólvora restaurant in Madrid -, all these people agree on 20 names, those of the artists, but also curators, museum directors and gallery owners, restaurateurs, collectors ... - most influential of our current artistic landscape. Let's see, it's not like choosing a dad, but the truth is that he has that one. Everyone arrives at the meeting with their own backpack of philia (the elegance of all attendees prevents us from perceiving their phobias, although they surely have them) that they will try to defend against the criteria of others ...
...Or not. Because it is also true - and that the Duchamp urinal falls on my head if I lie - that some names go to the basket of those chosen with such broad support that there is no discussion or dissent. For example, that of Concha Jerez, a generalized yes, anyone opposes - «This is his year», confirms Manuel Fontán -. Something similar happens with María Bolaños , director of the National Sculpture Museum (Valladolid); or with the sculptor Susana Solano, and, of course, with Francesca Thyssen .
The collector-curator aristocrat and his work in the museum with which he shares his illustrious surname becomes, in fact, one of the tastiest themes of the meeting (artistically speaking, it gives more play than the soap opera of the failed donation of Ella Fontanals -Cisneros to Reina Sofía, nine years of strips that have ended in the non-consummation of marriage). Francesca Thyssen , says Guillermo Solana , "will end up living in Madrid, is supercommitted to the museum."
Carlos Urroz adds that the aristocrat "will make two exhibitions a year, and not only in the museum." Marta Rivera de la Cruz , from her political perspective, calls for "supporting those who support us." Blanca Berasategu i, on the other hand, claims another type of support, ours, in fact, from Tania Pardo , since last year deputy director - "and there are very few, let's take it into account" - of the CA2M in Madrid. And if the deputy directors shine for their shortage, the directors do not even tell you, so Inma Priet or, who is from the contemporary art museum of Palma, Es Baluard, gets on the list.
Challenge: increase visits
As things progress, name by name, they fall on the table, at this point and to desserts, transcendental issues such as the need to attract the public to museums. Because without an audience, there are no museums, there is no art, there are no artists or Yo Dona list. Today, for example, museums are forced to organize samples that are seasonal hits, so that the figures add up. But that carries risks. Because not only hits feeds the culture.
Manuel Borja-Villel gives the key: «We have to think about culture as a whole. It is good that there are places where few people go, exhibitions that are not a success of the public ». And Fontán confirms: "If all that matters is the places where many people go, the culture will disappear." Not all art is Dalí and El Bosco . But we all need it, in all its forms. You can't live without culture, that factor that makes us human. Although sometimes we forget
According to the criteria of The Trust Project
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