Arte por Excelencias - - Cuba -

For all tho­se who work in the en­com­pas­sing fi­eld of vi­su­al cul­tu­re, wit­hin the Ca­rib­be­an and La­tin Ame­ri­can area, the pro­fes­si­o­nal and so­ci­al pro­blems art criticism has to de­al with are not ali­en to them.

Eit­her tho­se who ha­ve prac­ti­ced it in an aut­hen­tic and pro­found way, like many ar­tists with a con­cep­tu­al back­ground, or per­sons who work in cul­tu­ral te­ac­hing ins­ti­tu­ti­ons, in mu­seums, ga­lle­ri­es, or are simply ex­perts or collec­tors, they all com­plain about the con­fu­si­on that exists so­me­ti­mes among the dif­fe­rent dis­ci­pli­nes that con­duct the analy­sis, co­ding, pu­bli­city, pe­ri­o­di­za­ti­on, and put­ting the ar­tis­tic pro­ducts in­to ide­as.

They al­so tend to re­ject an in­dul­gent, gu­lli­ble “criticism” that lacks a sound in­te­llec­tu­al know­led­ge, very com­mon in a lot of pu­bli­ca­ti­ons whe­re the un­der­de­ve­lop­ment sign forks in­to an or­di­nary sop­histry at the ser­vi­ce of bu­si­ness and in the re­pe­ti­ti­on of snob ph­ra­ses, in­co­he­rent ad­jec­ti­ves and sha­llow apo­lo­gi­es.

Al­so me­e­tings, ma­ga­zi­nes, and bo­oks, or spe­ci­al TV pro­grams and the di­gi­tal me­dia ha­ve be­en me­ans to show all the disa­gre­e­ments and ap­pro­ac­hes of many art cri­tics about the vi­tal li­mi­ta­ti­ons or es­sen­ti­al de­vi­a­ti­ons that com­bi­ne wit­hin the pano­ra­ma of that di­a­rist prac­ti­ce or eva­lu­a­ti­on in pers­pec­ti­ve, which, in an ar­ti­cle pu­blis­hed many ye­ars ago in the se­cond is­sue of Lo­que­ven­ga ma­ga­zi­ne, I la­be­led as «the pal­tri­ness tra­de».

The sa­me eco­no­mic po­verty and of op­por­tu­ni­ti­es in our con­ti­nen­tal and in­su­lar con­texts pro­jects it­self over the cri­tic's per­so­na­lity, for­cing him to de­pend on ot­her ac­ti­vi­ti­es to make ends me­et, or on oc­ca­si­ons to le­a­ve asi­de his et­hi­cal con­di­ti­on, his phi­lo­sop­hic and aest­he­tic con­cepts, and even his de­ci­si­ve ro­le as an in­duc­tor or me­di­a­tor in the evo­lu­ti­on of art, to ins­te­ad res­pond to re­quests from in­vest­ment and merc­hant collec­tors that re­qui­re a pseu­do­cri­ti­cism with ad­mit­ted res­pon­si­bi­lity, even get­ting to adopt fa­lla­ci­es and “fairy ta­les” sui­ta­ble for the pro­pa­ga­ti­on and do­mi­na­ting im­po­si­ti­on of «art-merc­han­di­se.»s?

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