02 Nov Art as Ideology
In earlier times, visual art samples were a discussion about politics. For example, the engraving “Libertad de Expresión” by Adolfo Mexiac sprang from two historical events: the coup d’état of Guatemalan President Jacobo Arbenez and the expulsion of the director of Fine Arts after he agreed to place the communist party’s flag on the coffin. of Frida Kahlo, in July of 1953. In this engraving, Adolfo Mexiac through the graphic language created a series of visual signs that symbolized the social nonconformity, the lack of freedom of expression and the North American colonialism.
The chain gagging the mouth of the indigenous represents the limitation of speech and the imposition of another thought alien to the culture. The padlock on the left with the inscription “USA” means the invasion and intervention of the US in international politics.
Why is the artist and journalist of the 21st century afraid to express themselves and express their opinions? Words and visual arts still resist technology because they value freedom of expression. “Everyone has the right to freedom of opinion and expression. This right includes the right not to be disturbed because of their opinions, to investigate and receive information and authorized opinions, and the right to disseminate them without limitation of frontiers by any means of expression. ”
We have lost creativity, language and voice because we live in the most unequal region of the planet. The spectator does not find answers in works of art to social and economic problems because art is a space for questions and not for answers. Knowledge is born of indecision and not of certainty. The visual arts supported by the State (scholarships, prizes and trips) do not say anything because they are an expression of individuality.
The fear of losing the “scholarship”, the fear of losing the “job”, the fear of losing prestige in a small space and the fear of losing the per diem contributes to the destruction of creativity and ideology that has already been present in the art of past centuries. What is the meaning of the excrement intentionally left in the study of journalist Hugo Isaac Robles Guillén? Is it a kind of performance or is it a conceptual work of art? The message is a threat to freedom of expression, since the tendency of intellectuals today to have that of subordination and that of researchers is that of total conformity with norms and not with social problems.
The high salaries and privilege system of these groups (travel and per diem) create an inevitable network of interests and subordination to the established system. In this century, universities limit, by operational necessity, the research topics of their researchers. To be intellectual in this century, with some exceptions, you can not think or do works of art outside the established standards. What are the standards?
The ideology of cultural and educational institutions is the ideology of consumption, of the free market; we imitate the European and North American cultural standards, but we do not consume local works of art. Freedom of expression is only possible for the owners of cultural institutions. The freedom of opinion of the contemporary artist has as a limit the orientation of intellectuals and cultural producers. The 1994 guerrilla had a profound effect on all of us – what we wrote, said, thought and painted.
The local painter, art critic and the cultural journalist were more careful about what they wrote than what they were talking about, since we started from the premise that everything we did was subject to the exclusion of institutions.
Abstract art was censored in the United States by civil society, including museums and foundations that accused abstract art of being a communist art and prevented its purchase, dissemination and exhibition. The painter Jackson Pollock explained that “the modern painter can not express his time, aviation, the atomic bomb or the radio through the old forms of rebirth or any other pastime.
Each era finds its own technique. “(HESS 2005, 17) The source of inspiration that gave rise to the birth of abstract expressionism in New York was the myths of the Indians. These censored works replaced Paris as the new epicenter of art. In New York, the Manifesto of Modern Art was published, in which the duty of museums to defend freedom of expression was remembered. The manifesto stated: “We deplore the ignorance and carelessness with which modern art has been politically and morally attacked. (…) The wide diversity in modern art is a sign of vitality and freedom of expression inherent to the democratic society. (…) Freedom of expression is necessary for art to grow, transform and serve the human spirit “(Clapp 1972,)
Could it be that the 21st century artist is not inspired by the facts he looks at? Will it be that the global artist lost his imagination? Or is it that art is not made with the heart? I think that after the great artistic movements, intellectuals began to theorize about art and artists became intellectuals that have affected them.
I am not claiming that the art of this century should be conceived as the art of the past centuries, but that the art of the present must be developed in a global way and historical events such as the barbarity that took place in Acteal should not be lost in the night of the but rather acquire the importance that has, for example, Picasso’s Guernica that was created inspired by a similar brutality.
Por Magno Fernandes dos Reis. Caferelax57@yahoo.com.mx