Art is the way out of the crisis, Fernando Garcia Malmierca interview

Art is the way out of the crisis, if we do not create an image of ourselves which is more cultured and advanced we are not going to make headway on the international scene.

Fernando Garcia Malmierca proclaims his passion for art through various disciplines. As well as photography, he explores painting and his work is linked to the world of communication. Alongside all of this, Malmierca acts as an art curator. We take a look at his vision of the situation the art sector is currently living through.

Art is the way of crisis

The work of an art curator is perhaps, at present, unknown to the general public.  What is the rough basis of your work?

The curator is, on one hand an organiser and a mediator, on the other hand he should offer the conceptual elements that give the sample meaning.

Is there any difference between a curator who works here in Spain and one who works at an international level?

Fundamentally no, none, it is the same work, what does perhaps differ is the social perception people have of the curator, since in Anglo-Saxon countries they have been ratifying this figure in the artistic organogram for quite a lot longer.  The other difference is the limited means that can sometimes be counted on here.

The artist is the priority for a curator of art…

Yes.  The artist should feel like something belonging to you, an extension of yourself, who complements your creative reality, by choosing him you are putting your faith in him, appreciating his art and showing you value it.

As a result of the II Festival of Miradas de Mujeres (Women’s Way of Looking) you are curating the artist Silvia Bermejo’s exhibition.  What is the exhibition made up of?

The exhibition titled El eco de mis mujeres (The Echo of my women) consists in 13 self-portraits, all highly introspective, which, taking as reference point feminine icons of art, particularly contemporary ones such as Cindy Sherman or Frida Kahlo, the artist creates a reinterpretation within the field of feminism of the most recent generation.

We are living through very complicated times but it is also a good time to get to know emerging artists who can, little by little begin to consolidate their position in the sector…

Yes.  This is the way, for example, in which the Emergent Space in the Contemporary art Centre Domus Artium 2002 Salamanca (DA2) works.  It has been promoting young artists for many years, and artists who have gone on to develop solid national and international careers have passed through its doors.

The internationalization of art is one of the key factors within the sector.  In Spain we have to some extent forgotten this?

I don’t think so.  Spanish museums are perfectly internationalized, the issue is the projection of artists from here outside, it is a matter which is pending for the institutions.

And Contemporary Centres of Art…

Their didactic work is invaluable.  In general they work very well and they make an enormous effort to bring Contemporary art to the citizen.

Art in MadatacA lot of your work is centred in photography.  There are festivals which are working; one example of this is MADATAC, … where, what is more you made off with the prize from the public.  It is at the very least comforting to win a prize that comes directly from the user, the public…

Yes.  It was a welcome surprise, because the video we presented, Neo nova, was rather experimental, but it seems to have made an impression on the taste and feelings of the public and this is very gratifying.

Self-managed or independent spaces are an alternative to the institutionalised approach to culture?

They are parallel, pleasure is in variety, they are freer spaces, where production is normally carried out and their independence usually guarantees the birth of what will be the artistic spaces of the future.  When, in the 70’s the mythical independent spaces functioned they were authentic paradigms of what are now the Contemporary Centres of Art, for various reasons: their multidisciplinary nature, their role as places for experimentation and above all for their form of management – direct and linked to the artist.

What opinion do on line art galleries deserve?  Are they a good way for artists to ally themselves with new technology?

They are already a reality; a simple way to inform one’s self of the international artistic panorama and to be able to acquire pieces easily and safely.

Is it necessary to promote art as a way out of the crisis?

It is the way out; if we do not create an image of ourselves which is more cultured and advanced we are not going to make headway on the international scene.  And in this art is a magnificent ambassador; we saw this in ARCO with the emerging countries represented there.  Through art we change our perception of them, for the better, as we see they are capable of creating a creative fabric which revitalizes them and places them in the “first world”.

Is it possible to live from art without being “Antonio Lopez….” to offer one example?

Of course, although we don’t live quite as well…



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