GalerÃa Trayecto – Ãlvaro de los Ãngeles

Texto realizado con motivo de la publicaciÃ³n Â Auctoritas, de Joxerra Melguizo, publicado por el Gobierno Vasco y GalerÃa Trayecto (Vitoria-Gasteiz)

Anteponer la autoridad de la autorÃa a la obra misma ha sido un principio del arte y se ha desarrollado como un mÃºsculo hipertrofiado. Las obras se tasan por centÃmetros o metros cuadrados, por el peso de sus volÃºmenes, por el tamaÃ±o del soporte o por la producciÃ³n del vÃdeo o film que presentan. Incluso en los casos en que acciones o performances se realizaron para ser pasto del tiempo, creyendo ahuyentar de esta forma la fisicidad susceptible de ser tasada, los registros que las evidenciaron han devenido copias, por lo tanto obras seriadas que han entrado en el mercado del arte por la puerta trasera, rÃ¡pidamente igualada a la entrada principal en prestigio y valor monetario. Nada en arte estÃ¡ exento de ser tasado. Nada, por lo tanto, puede evitar la tasaciÃ³n y, por pura lÃ³gica, todo se ha vendido o estÃ¡ a la venta. Sin embargo, es un hecho consustancial a estos modos de tasaciÃ³n y a su valor, el estar ejecutada por segÃºn quÃ© artista. Una vez aceptado de forma general el reconocimiento del artista o el respeto hacia su producciÃ³n, el peritaje o expertizaciÃ³n de sus obras corresponde hacerlo al margen de su calidad individualizada, atendiendo principalmente al tamaÃ±o, el volumen y/o los costes de producciÃ³n definitivos. El debate sobre la capacidad de producciÃ³n de cada artista en relaciÃ³n con la calidad de su obra resultante es un dilema reciente, y ha estado marcado por el propio mercado o sus derivaciones.

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Extracted from Joxerra Melguizo’s text in ocassion of the book published by Euzkadi Goverment.

One of the principles of art, and one that has developed like a hypertrophied muscle, has been to place authority before the authorship of a work. Works are valued by the square centimetre or metre, by the weight of their volumes, by the size of the support or by the production of the video or film they present. Even in those cases of actions or performances mounted in order to be consumed by time, in the belief that they would thereby avoid the physicality that was liable to have a value placed on it, the records that bear witness to their existence have been reproduced, creating copies, and hence mass-produced works, that have entered the art market via the back door, which has quickly been equated with the main entrance in terms of prestige and monetary value. Nothing in art can escape being valued. Nothing, therefore, can avoid valuation and, by pure logic, everything has been sold or is up for sale. However, an inherent element of these modes of valuation and value is authorship by such and such an artist. Once a particular artist or respect for his work has been has been widely accepted, expert opinion on his works is produced regardless of their individual quality and is based principally on size, volume and/or the final production costs. The debate on the output capacity of each artist in relation to the quality of his work is a recent dilemma and has been affected by the market itself and its derivations.

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