CAPITAL_León. Daniel García Andújar

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ATLAS. Georges Didi-Huberman

[vimeo]http://vimeo.com/18063038[/vimeo]ATLAS. Entrevista a Georges Didi-Huberman from Museo Reina Sofía on Vimeo.

En esta entrevista, Georges Didi-Huberman, comisario de la exposición “ATLAS. ¿Cómo llevar el mundo a cuestas?”, plantea el modelo del atlas como un dispositivo para reconfigurar la ordenación sensible del mundo, así como las relaciones establecidas en la formación del conocimiento. A partir del trabajo de Aby Warburg, se plantea la producción artística como un trabajo de montaje en el que reconfigurar las cosas, los lugares y el tiempo.

Artwork or not work? – Why art is sacred and the key to sociability

Erik Empson
Egon Schiele: “The work of art is sacred, too.”

E.F Schumacher: “…there can be nothing sacred in something that has a price.”

The awe which may have once greeted any one excellent work of art, is today more likely to be generated by the price it fetched when sold than anything to do with the work’s visual affect. How do we account for this apparent reversal?

Art, because of its uniqueness, and because it is the result of irreducible, complex human labour, never fitted into the Marxian conception of value and work – based as it was on factory production and its particular type of discipline. But in escaping that dreary paradigm, artists themselves have long struggled over the problem of authenticity and the commodity form and in so doing sought to challenge the separation between art and life.

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How can the cultural sector survive the financial crisis?

LabforCulture  January 2009

Helmut K. Anheier (Ph.D. Yale University, 1986) is Professor of Sociology at Heidelberg University and the academic Director of the Heidelberg Centre for Social Investment. He is also Professor and Director of the Center for Civil Society and the Center for Globalization and Policy Research at UCLA’s School of Public Affairs. Anheier’s work covers the civil society, the nonprofit sector, philanthropy, organisational studies, policy analysis and comparative methodology. In 2008, he published Cultures and Globalization: The Cultural Economy.

It is clear to everyone who follows daily reports about the cancellation of cultural events and the closure of opera houses and theatres, or learns about economic troubles at one cultural institution or another, that the global financial crisis is already having a significant impact on philanthropic giving and non-profit organisations. [1]
It is also clear that the crisis’ impact is going to get deeper and wider for some time to come. It is less clear how long the fallout will last; and it is especially unclear what the crisis ultimately means for policy-makers, leaders and managers in the cultural sector. This article examines how the arts and culture sector is responding to growing uncertainty in the global economy – and how the sector can weather the gathering storm.

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Arte y crítica

EMMANUEL LEVINAS

Traducción del francés de Saúl Kaminer.

Por lo general, admitimos como dogma que la función del arte consiste en expresar, y que la expresión artística descansa sobre una certidumbre. Ya sea el pintor o el músico, el artista dice. Dice lo inefable. La obra prolonga y rebasa la percepción vulgar. Lo que la segunda vuelve trivial y deja de lado, la primera, coincidiendo con la intuición metafísica, lo capta en su esencia irreductible. Ahí donde el lenguaje común abdica, el poema o el cuadro hablan. Así, la obra, más real que la realidad, consuma la dignidad de la imaginación artística que se erige en saber de lo absoluto. Incluso descalificado como canon estético, el realismo conserva todo su prestigio. De hecho sólo lo negamos en nombre de un realismo superior: el surrealismo es un superlativo.

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