{"id":953,"date":"2014-06-16T12:16:52","date_gmt":"2014-06-16T12:16:52","guid":{"rendered":"https:\/\/montsebadia.net\/new\/algunas-preguntas-incomodas-sobre-el-arte-y-su-incidencia-en-la-realidad\/"},"modified":"2025-02-18T12:52:50","modified_gmt":"2025-02-18T12:52:50","slug":"algunas-preguntas-incomodas-sobre-el-arte-y-su-incidencia-en-la-realidad","status":"publish","type":"post","link":"https:\/\/montsebadia.net\/en\/algunas-preguntas-incomodas-sobre-el-arte-y-su-incidencia-en-la-realidad\/","title":{"rendered":"Some uncomfortable questions about art and its impact on reality"},"content":{"rendered":"<p><a href=\"https:\/\/a-desk.org\/en\/magazine\/algunas-preguntas-incomodas-sobre\/\">Link to the article in A*DESK<\/a><\/p>\n<p>The ADN gallery in Barcelona is currently presenting a collective exhibition which, as the text on the exhibition leaflet explains, \u201cstarts from the idea of \u200b\u200bthe artist as an accomplice and witness to social dynamics that require their involvement, commitment and an active positioning that goes beyond denunciation.\u201d<\/p>\n<p>The impeccable exhibition is entitled Accomplices and Witnesses and is relevant, not only for the projects it presents, but also because it is capable of raising many questions; both about the positioning of the artists or the situations and conflicts that they show, reveal or denounce (which we will not dwell on here), and about the risks that these types of practices can fall into; or about the real impact that these can have and the way in which they can be read.<\/p>\n<p>Beyond this exhibition, there are risks or tics that these practices, artistic and cinematographic &#8211; especially documentaries &#8211; can incur, sometimes, due to a question of naivety or inertia. Detecting them should not be understood as a sign of destructive criticism, but of doubts and questions generated from honesty and from the conviction of the need for this type of project.<\/p>\n<p>A few months ago, the artist Tania Bruguera dedicated a workshop here to the notion of \u201cuseful art\u201d, that is, the need to bring art into the realm of reality, and as she herself insisted, \u201cto do something that can serve society\u201d. There are several dangers or complex situations associated with this declaration of good intentions. Firstly, that said \u201cuseful art\u201d is directed at an audience that is already aware, convinced and committed to the proposed cause. In this case, rather than generating new questions or revealing specific situations, the artistic proposals would be limited to creating an effect of recognition. Secondly, that the existence of said art ends up acting as a tranquilizer of consciences and, therefore, does not produce any type of action. And finally, the figure of the artist becomes a substitute for a sociologist\/anthropologist\/architect\/ethnographer\/\u2026 (and add here the specialty you want), who approaches a specific scientific discipline without an exhaustive degree of knowledge, rigor or the necessary involvement.<\/p>\n<p>If one of the most important strategies of action in art can be to point out, show, evidence or propose tools that contribute to change (sometimes small changes that can have great later significance), what can happen when working with such sensitive material as humans, that is, people with all their problems, ambitions, desires, expectations and frustrations? How can an artist approach a community or a collective, sometimes with very different social and cultural patterns and guidelines, without being or appearing paternalistic? What is the point of denouncing things? Can socially involved art end up being a soothing of consciences? Is activism a form of collective recognition sometimes more important than its own real impact? What percentage of representativeness should artistic practices have in order to be able to be between these two worlds, that of the art circuit and that of action, maintaining the codes of both and without betraying either of them?<\/p>\n<p>Perhaps more than finding the answers to these questions, the fact of openly posing these questions means admitting and assuming the danger of this slippery and unstable terrain in which these practices move and, above all, being aware of the importance of keeping these cynical attitudes at a distance, with the will and eagerness to assimilate and pervert them, often reducing them to simple clich\u00e9s.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Link to the article in A*DESK The ADN gallery in Barcelona is currently presenting a collective exhibition which, as the text on the exhibition leaflet explains, \u201cstarts from the idea of \u200b\u200bthe artist as an accomplice and witness to social dynamics that require their involvement, commitment and an active positioning that goes beyond denunciation.\u201d The [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-953","post","type-post","status-publish","format-standard","hentry","category-textos-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.1 - 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