Publication: Filantropía y mecenazgo corporativo en los centros y museos de arte contemporáneo en España
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2020-02-27
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Universidad Complutense de Madrid
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Abstract
El impacto de la reciente crisis económica en el sector del arte contemporáneo español ha puesto en cuestión la viabilidad del actual modelo público de intervención directa del servicio de la cultura, cifrando la salvaguarda del sistema en el “mecenazgo” privado, especialmente el corporativo, como fuente de financiación externa. Pero la crisis también ha revelado la precariedad de un sector —ampliado con las llamadas industrias culturales—, cuyo principal y casi único “cliente” son los mismos poderes públicos que detentan la titularidad de la red una vez que, como advertía Álvarez Álvarez en 1975, la iniciativa privada haya sido prácticamente expulsada por los efectos de la sobreprotección de una excesiva estatalización. El modelo cultural español es el resultado, por una parte, del desarrollo de las distintas formas de mecenazgo —un patronazgo casi siempre bajo la forma de coleccionismo—y la aplicación de estos tesoros a distintas funciones, configurado la noción de acervo colectivo de carácter identitario que constituye la base de la regulación de los patrimonios nacionales. Por otra parte y en paralelo, es también el resultado de la incorporación progresiva por parte de la filantropía —y formas previas de caridad y beneficencia—de sujetos acordes con la evolución de los valores de la sociedad, hasta incluir la cultura como materia que interesa al procomún...
The impact of the recent economic crisis in the Spanish contemporary art sector has called into question the viability of the current public cultural model of direct intervention, singling out philanthropy, particularly corporate, as the system’s lifeline by means of external financing. But the crisis has also revealed a precarious sector — expanded with the so-called “cultural industries” — whose main and almost unique “client” are the government agencies with tenure on the art network once, as Álvarez Álvarez warned in 1975, the private initiative has been practically crowded out by the overprotection of excessive statism. The Spanish cultural model is the result of the development, on the one side, of the different forms of patronage — mainly in the form of collections — and the evolution of the application of these treasures, which shapes the notion of collective heritage and is the basis of the regulation of national heritage. And, on the other side, the parallel development of philanthropy — first as charity and beneficence —gradually incorporating subjects aligned with the evolution of society's values, ultimately including culture as amatter of common interest...
The impact of the recent economic crisis in the Spanish contemporary art sector has called into question the viability of the current public cultural model of direct intervention, singling out philanthropy, particularly corporate, as the system’s lifeline by means of external financing. But the crisis has also revealed a precarious sector — expanded with the so-called “cultural industries” — whose main and almost unique “client” are the government agencies with tenure on the art network once, as Álvarez Álvarez warned in 1975, the private initiative has been practically crowded out by the overprotection of excessive statism. The Spanish cultural model is the result of the development, on the one side, of the different forms of patronage — mainly in the form of collections — and the evolution of the application of these treasures, which shapes the notion of collective heritage and is the basis of the regulation of national heritage. And, on the other side, the parallel development of philanthropy — first as charity and beneficence —gradually incorporating subjects aligned with the evolution of society's values, ultimately including culture as amatter of common interest...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte, leída el 28-11-2019