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Museum, Inc. Inside The Global Art World

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Publicada em: Educação, Diversão e humor
  • Dear Jaime Villa:

    Reposting 11 pages of a 75-page book is, at the very least, a copyright violation. The very least you might have done is ask the author. Incidentally, it's the author, not the publisher, who owns the electronic rights to this book; and as the author, I'm interested in making the book as widely available, without exploiting the reader or the author.

    Please contact me. I appreciate that you want to make this text available to others. I believe there are fairer ways to do it, and ways that do not distort the intent or meaning, as these extracts do.

    Paul Werner
    author, Museum, Inc.

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Museum, Inc. Inside The Global Art World

  1. 1. Paul Werner Museum, Inc:Inside The Global Art World<br />Jaime Villafranca<br />Industrias Culturales<br />Universidad de Monterrey<br />
  2. 2. ONEThe Genius of Capitalism – and vice-versa<br />Tom Krens(the director of the Guggenheim in the nineties) had the genius to see that works of art circulate like money.<br />A museum (any musuem) has accumulated a collection that it leverages the way a bank leverages capital. The museum puts its own capital(“the collection”) or the capital of others (“loans”) into circulations (“shows”). As the capital circulates it accumulates more capital, which in turn is put back in circulation or leveraged for more capital. <br />The Guggenheim Museum had accumulated sterling capital by the time Krens came on as the director. <br />
  3. 3. II<br />Art is a lousy investment: there’s no consistent or predictable demand, the value’s all on paper, actual prices fluctuate widly, and you get no interest or dividends. Plus, the cost of maintaining your assets is huge. <br />Art isn’t something you use, it’s something you buy, you sell, you buy, you sell. <br />The illusion art could be run for profit like everything else was derived from the notion museums themselves had worked so hard to foster: that art and capital were all one and circulated in the same manner. <br />
  4. 4. III<br />Museums as we know it was explicity set up to demonstrate that the “real” value of artworks trascends at once their past use-valueand their exchange value.<br />What Goethe once said about aesthetics applies as well to money: as you uourself set the terms of the debate you can manipulate meanings forever, which is pretty much what people who works at museums are put ther to do. <br />Museums in the French Revolution were the first to show artworks by historical period, based that eache society has its own art but the meaning of art in general belongs to none, except that in practice it belongs to those who own the museum. <br />The founders of the New Art Order needed to persuade themselves and others that the actual value of artworks trascended filthy lucre in the here-and-now as surely as their “real” meaning had trascended their exchange – or use-value in the past.<br />
  5. 5. III<br />The state became the resting–place for all the unresolved contradictions of the art market, just as it was the arbiter and final resting-place of all the contradictions of modern society. <br />The aesthete was the person who put himself at the service of the State, or Beauty, or the People, or anything but his own greed.<br />
  6. 6. IV<br />The American art museums shores up its authority by, while, and in order to demonstrate that the values of free enterprise are coterminous with the values of art.<br />There’s a lovely term in economics, “externalities,” meaning anything economics is either not designed to cover, or design not to cover. Museums are instruments of the second activity, tools for the encryption of one value (cash) as another (symbolic capital).<br />The system of valuation and exchange involved in a work of art (or any item of cultural production) hinges on simultaneously denying the liquidity of the object, inventing a new, other exclusionary explanation for its existence and, finally, revaluing the object in terms of other criteria, unfathomable to anyone but yourself and a few trusted accomplices.<br />
  7. 7. TWOThe rituals of authority<br />In January 2001 Krens was invited to address the Wallhall’ of Neo-Liberalism, “the museum of the future” as: a large triangle with the exhibits at the top. Below it is the catalogue, 10 times larger, containing information that cannot be shown. The block below that, 10 times large again, will contain the instruments and the technology that allow users to access all the information relating to the exhibit. Below this block is the Internet, 10 times larger once more, with a limitless potential to stream videos, text, photographs and archival information. <br />
  8. 8. “I am not interested in being just an elitist institution that does not speak to a broad cross-section of the population,” Krens claimed. <br />Like every other museum the Guggenheim was simultaneously elitist and populist, it sorted out the elites from the others under the sign of apparent equality. <br />“TO EACH HIS OWN” is inscripted at the iron gate of the Buchenwald. <br />The Guggenheim was not different from the Metropolitan Museum of Art, which instituted special Monday openings in 2003: for mere $50.00 you got special admission to whatever show was deemed to be a blockbuster just then. <br />
  9. 9. THREEIf you build it they will come. Then you can beat the crap out of them.<br />The Guggenheim Bilbao opened in 1997, the visual centerpiece of a master plan for the economic redevelopment of the Basque Region. <br />“The function of the museum is to create a situation in which viewers do not feel they are being tyrannized.” Not feeling tyrannized, it turns out, was not a goal but a subject for contemplation. <br />There was nothing to engage: the only tyranny you were going to be freed from was the tyranny of metanarrative. <br />
  10. 10. The Guggenheim Bilbao was wildly successful – at least for the Basque Regional Government that originally commissioned it. <br />The Basque Government claimed to have recouped its initial investment within a year. <br />Bilbao paidforitself, buttheGuggenheim’sprofitswouldhaveto come fromelsewhere. <br />
  11. 11. FOUR Rio: the highest stage of Bilbao<br />The idea wasto do to Rio de Janeiro whathadbeen done to Bilbao, Spain. But Rio is no Bilbao. <br />TheGuggenheim’spartnership of International Modernism and upper-classEuroculturewasnothing new toBrazilians, many of whom are descendantsof slaves, some of whom are descended fromIndians, all of whom are sensitivetotheinteractions of class and ethnicity, obligadohave a nicelife. <br />Thereweredemonstrations, legal actions, and suddenlytheprojectwascalled off. <br />