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Slow criticism Art criticism, under oath Let's give the artworks what they deserve Criticism without algorithms
ARTONTRIAL
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Guy Richards Smit:
Devil's Advocate
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Last Trials
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Giuseppe Penone vs PHILTH HAUS
Artist as an outsider in the natural order, or the artist as part of nature.
Àngels Miralda
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Marcel Duchamp vs Regina Galindo
Questioning the figure of the genius artist, the female representation in art, and the role of viewer.
Amalia Cross
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Last Memos
Post-it
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
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Critics on Trial
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Halim Badawi about Avelina Lésper
The repetition of an outdated speech
Halim Badawi
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Third degree
Catherine Millet
Good debates are dying out
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Retrospective
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A view of Modernism, by Rosalind Krauss
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Critic's Choice
Archivar, by K. J. Rawson, Joan M. Schwartz, Terry Cook and Eric Ketelaar
Enric Farrés Duran
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Evergreening
Charlie Chaplin
"City Lights" (1931). About the adequate distance of the art critic from the work.