CERCLE 5

A rt criticism remains something of an aspiration. Moreover, the art critic is now at a crossroads; ‘a difficult situation in which it is not known which conduct to follow', 3rd meaning in the Royal Span- ish Academy Dictionary. As a result, each takes the direction that they think right and solves the issue from their perspective. Azorín, in Liter- ary Values (Renaissance, 1913), says: ‘To critique is to differentiate, to establish discrepancies, to express the characteristic, unique, features of an author or a work’. The fakery, the intrusion, cronyism, snobbery, the free-marketism, the opportunism, the insensitivity, the matey-matey-ness, poaching and other ‘isms’ and ‘nesses’, have put critical art in the shade, covered it in pure mystification, in a most liquid ambiguity. In addition, digital thugs —quick, quick!— have forcefully spoken for insisting on it all, without any kind of filter. Filtering here is not about censorship, but rather having some basis on which to express oneself. I'm not against whimsy, if it is important, if it brings something to the table. I am against those who speak to fill the air with stupidity and madness. The dictatorship of social networks, digital fluidity, the dynamics of new technologies have become an end in themselves, rather than be used as what they are, as a tool. This causes the need for a kind of cyber fiefdom that makes anything stupid go viral, so that now many commissioners are more interested in scandal than art. I am discussing a reality, I am drawing a map of what is happening, that despises art and artists for the sake of mere showmanship. The most valued criticism today is price, but the critic is bound to investigate. As usual, a kind of dictatorship of the review reigns, repeating what exhibi- tion information says, as a monument to ambiguity and tautology; there is flattery, justification so as to devise a structure to justify and praise what we should pass judgment on. Art requires some knowledge of technique, composition, treatment of materials, drawing. Skill. But you need much more than mere skill: you need to think and create an icon with presence, emotion and mystery, regardless of language. Art is visual; if not, we are dealing with something else. And the visual aspect produces sensations that bring together and harmonise a feel- ing. Before thinking, we need to feel, to feel above everything, to put sentiment before intelligence. A magical thinking beyond the logical, aspiring to discover the enigma that we love by enriching ourselves. All spectators are critics, for better or for worse. Every amateur makes criticism when we are excited with something or we reject it. For this reason, it is not enough to come out as sensitive, to postulate being a person of ‘feelings’. Other qualities are needed to locate, unravel and illuminate. The usefulness of the critic is in being a mediator with knowledge, in- tuition, with the resources available to them. Each one feels with their own sensibilities. Mediating between the piece and the viewer is to place this work in its entirety, in time and space. To analyse what is proposed to us to distinguish its importance. We must all substantiate our judgement. ‘An artist is not painted with superlatives, with hyper- bole, with epic praise. We are not told how they are. No; what you need to do is not to generalise, but to go into details’. Literary Values , Azorín (Renacimiento, 1913) Art is a subjective creation that becomes objective when it gets out of its creator’s hands. A ‘significant form’, as Clive Bell called it; but it re- quires some emotional bonding. Without a viewer to determine it, art is not complete. It is worth what it's worth. And what it’s worth should be justified; without sentimentality, but with knowledge and sensibility about what we are passing judgement on. With determination, adroit- ness and epikeia. Art criticism aims to unveil the mystery of an artwork that seduces us, to identify its spiritual soul, to discern what the original brushstrokes have preserved, each particle of a form. And the critic must fulfil this rite. Or they are not be a critic: ‘sincerity is a dismal virtue’, said Mor- atín. But, it is inexcusable. THE ART CRITIC Discretion, honesty... and fearlessness