Editorial: La polémica del mes

The Onuart Foundation has been instrumental to the whole process. Said organisation is promoted and presided by the Spanish Foreign Affairs Ministry which holds a forty percent share in the Foundation, with the other sixty percent shared out among private and public members. The Spanish art world is represented in the Foundation by the directors of the Prado and the Reina Sofía Museums, and by the directors of Fine Arts and National Heritage, alongside José Francisco Yvars, former ivam director, and the gallery Art Gaspar. This private, non-profit foundation was presented to the media in early September 2007 as the institution running the project, created in response to an initiative put forward by Juan Antonio March, who was appointed United Nations Ambassador in Geneva after the 2004 elections, is a great admirer of Barceló's art, and born in Majorca, like the artist.

As regards the reactions of the art world, it comes as a surprise to see the general gratuitous viciousness and the high flown discourses lacking in critical content that simply repeat, without giving them a second thought, the arguments outlined in this partisan battle, following the guidelines drawn up by the newspapers, with their corresponding cultural supplements in tow. The Spanish art world once again reveals its lack of independence by adhering to discourses proposed by the genuine spokespersons of this useless controversy without taking the time to verify and process the data independently. Herein lays the greatest contradiction surrounding the frenzied detractors of the now famous dome, which have formed a boisterous pack and thrown themselves into attempting to rip apart a work they have not even seen... By doing so, they reveal the sense of art they cultivate if they think that three or four photos or a few video recordings can actually depict the effect produced by a large-scale work, in which space and the changing effects of light, volumes and colour are essential. The rigorous task of art criticism should stop them short and prevent them from speaking without having had the chance to appreciate the work in person.

Furthermore, in the wake of this polarised, manipulated, mass media-based discourse, these detractors protest against the squandering, although many would hold their breath if they were invited to take part in a similar project as intermediaries. In fact, they did not say a word until the controversy was sparked by the mass media. They did not bat an eyelid when the project was presented publicly last year. They also seem to have forgotten a traditional aspiration of the art world: for all public institutions to devote part of their budget to art, beyond the one per cent reserved for culture.

It saddens me to think that had the project been commissioned to a famous designer instead of to Barceló -even though a designer would have unquestionably charged the same fees- the result would not have aroused the least bit of interest among such a hypocritical and misinformed faction of the Spanish art world -or a faction that spends so much time misinforming. Who knows if those fuss makers are simply attention seekers that will soon emerge as witch hunters and start charging a levy for their silence?, a practice that, on the other hand, is quite frequent in a world that so easily mistakes social climbers and prophets. Otherwise, what do they expect to achieve with their fanatic discourse, apart from attacking the presence of art in the high spheres of power? Why have they unearthed the dull argument of "art serving politics"? Can art survive outside society, outside reality; in other words, can art exist beyond politics and the market? Are they completely unaware of art history? Why are they concerned about the money paid to the highest valued living Spanish artist? Is it because there is nothing in it for them? What is wrong with the chosen artist? Would they rather no art works had been included in this project and, obviously, in any others promoted by the Spanish government? Indeed, the Government will definitely think twice before resorting to the conflictive art sphere next time. All thanks to those who want to make a stand as defenders, or official representatives even, of the art world. However, this world is wide and narrow at once. We all know each other here. Therefore, all the pomp and ceremony has been very public and may result in even more political deafness to the demands of the art sector, represented by greedy and disoriented entities and figures, unable to converse intelligently with the elements of power to obtain the mediums which, oh irony, would provide greater freedom.

In my opinion, I definitely recommend a visit to Barceló's dome. I have seen it, and I think it is great.

Translation: Laura F. Farhall