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Issued date: 2005

Version of:

Rights: Atribución-NoComercial-SinDerivadas 3.0 España

Author: Galán, Ilia



Universidad Carlos III de Madrid Repositorio institucional e-Archivo Área de Estética y Teoría del Arte DHLLHE - EST - Artículos de revistas 2005 Transgothic art as a movement Galán, Ilia Descargado de e-Archivo, repositorio institucional de la Universidad Carlos III de Madrid TRANSGOTHIC ART AS A MOVEMENT By Ilia Galán, published as an article: Empiurema, nº 31, Orihuela, 2005 Translation by Fiona Westbury --p.
65--It may seem amusing that in the 21st century a group of artists should appear and declare itself against the situation of contemporary art, symbolically attacking a corner of the Prado Museum with brute force.
Now that everything in art seems possible, when we are sick of supposed novelties and scandals, when we have read one thousand manifestos from old avant-garde movements, a handful of creators appear, playing up like children, ironically claiming the freedom to be sensible in art, demanding a return to its very spirit.
The group was introduced while some of its members appeared attacking Moneo’s Cube, an emblem of a supposed modernity, already old and even vulgar, which was built after damaging the austere Cloister of the Jerónimos in Madrid. On the seventh of March 2005, the action took place: an attack on a shoddy emblem, something which does not harmonise with its surroundings in any way but is being paid for by everyone.
However, only a few members of the Transgothic group turned up there and some did not agree with this action for its deliberateness.
Dressed in black, in mourning for the death of the arts, their aim was that a group of artists should represent the resurrection of art, appearing in a queue.
Armed with spades and pickaxes, while a voice cried out, “Down with the banalisation of art!” the rest responded, like an ancient Greek chorus, “Transcendence”.
The “magic” word having been uttered, pickaxes, spades and sledgehammers descended rhythmically, ...

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