Slow criticism Art criticism, under oath Let's give the artworks what they deserve Criticism without algorithms



Guy Richards Smit:
Devil's Advocate

Last Trials

Last Memos


Writing and researching

In Museums about the binomial art and education

Rosario García Martínez


Writing and researching

Rosario García Martínez

How willing are cultural institutions to enable spaces for the production of knowledge, linked not only to works and exhibitions, but also to what happens around them, something that makes them public?

The machinery of the Museum includes a prolific editorial production of expensive catalogs with the words of directors, curators, sponsors and specialists in art theory. But the editorial lines around practices that enable other voices are not naturalized.

On the other hand, personally, how much time do we allocate in a subversive way (since it is not officially considered as part of the job) to write and research about our work? How much do we demand that this be enabled in our institution? Talking about writing and research in art-education implies talking about professionalization. If it is a matter of rethinking the museum, it is important that spaces and resources are institutionally promoted to materialize and make accessible a knowledge that can be thought of today as public heritage, due to its vitality for the training of future cultural professionals and for its value to think the meaning of museums in today’s society.

Resident of the Month
Gisela Chillida

Critics on Trial



Charlie Chaplin

"City Lights" (1931). About the adequate distance of the art critic from the work.

The risk of straying too far