During the month of March we held the third Laboratory Exchanges. The contents developed during these sessions, as well as the previous ones, will be included in the speech of the project “FX Archive: from Economy zero”, within the framework of which we will also present the exhibition “Economy: Picasso” this May.
As follows we will give you a summary of the most relevant contents of the third sessions of these laboratories:
The Law of Art compared with the Law of Patronage and other rules
Isidoro Valcárcel went over some of the most notable articles related to the Law of Art and the Law of Patronage so as to highlight the difficulty of legislating about economic aspects in the artistic field and to make evident the legal gaps that appear. One should therefore bring into question the law of heritage and that of intellectual property. The economic factors are dealt with from the perspective of profitability and productivity, but never from a position of rationality in terms of expenditure and exploitation.
Isidro Valcárcel Medina
A realistic picture of our situation: symbolic price zero
Isaías Griñolo presented us in the documentary “A realistic picture of our situation: symbolic price zero” the tragic environmental consequences caused by the actions of the business group Villar Mir. With this documentary Griñolo aimed to show in a cinematographic montage focused on the case of the Villar Mir Group, the environmental dramas caused by industry over the decades without anybody being punished. An example of destructive economy that goes unpunished.
Conditions of existence
Based on a historical journey marked by a theory of the economic transformations, Juan Luis Moraza showed us the path that the value of art has travelled along from ancient times to the present, focusing on the analysis of the economic situation that the artistic world is currently living. In the majority of the cases, art is an unsustainable business. Around 85% of artistic creation forms part of a non-monetary economy, of a qualitative or imaginary economy, as well as an economy of gift, of the grace and gratuity of art, given that the work of the artist is one of profound generosity, both in the sense of generator, as well the sense of the fact that works are sold for a value they do not have.
Juan Luis Moraza
By means of a performance that brings together music and text, Oier Etxebarria created an economic concert in which a relation is established between the economy, the melody and the word. Uisng a series of independent phrases, but each one joined with the others, Etxeberria establishes a relation between economy and music, art and culture, serving it with the ambivalence of word games such as “dar crédito” (give credit), “hablar en plata” (speak bluntly), “los números cantan” (there’s no arguing the numbers), “canta-habilidad y contabilidad” (singing ability and accountability).
Money, collages and handcuffs in feminist reproduction
Patricia Molins, Inmaculada Salinas and Carme Nogueira (represented by Molins given that Nogueira was missing due to a delay in her flight) are presented to us through their investigation and their works of the image of the women and femininity. Molins gave a presentation about the vision of art and women and craftwork, subjects that are at the margin of canonical history. Inmaculada Salinas presented her work centred on what was called “femininity”, the voice, and how this is reflected in the systems of representation and in painting. Molins presented us the project of Carme Nogueira about the processes of subjectivism and the normalising function of the spaces through photography and installations.
Patricia Molins and Inmaculada Salinas
Miguel Benlloch presents us a mix between performance and poetry reading of autobiographical search for his vital experiences about the discovery of the homosexual universe and the reconstruction of the concept of the gay body throughout the past century. Benlloch takes us on a trip of life experiences that transformed him: from when he saw for the first time the film El Detective when he was 14 years old where he takes to two transvestites, to the distinct sexual theories that are developed throughout the 20th century.
Picasso in the Hole
Manuel Delgado has treated the case of the Hole of Shame, an example of the urban planning speculation process and gentrification of the Barcelona neighbourhood of the Borne, held up by an exemplary neighbourhood fight. The space, initially planned as a green area, was redefined for a future construction of private parking places near to the Picasso Museum. In this case it is very important to note the role of art and culture as the legitimisation of certain urban planning transformations. Finally, after a long battle, the Hole of Shame has become a square presided by a small fountain that carries the drawing of the symbolic tree where the whole thing started. A clear example of how a collective neighbourhood fight won over the private, political and economic interests.
On practical placement at the Museu Picasso from the Master’s in Cultural Heritage Management at the Universitat de Barcelona