Museum Of Contemporary Art For The 21st Century

Museum of Contemporary Art for the 21st Century

Formerly, art museums had the purpose of being an entity of conservation, research, education, dissemination and their own delight. Just as society is changing, museums must adapt to the new realities that are presented and stay up to a society that becomes increasingly changing and demanding. A society that has multiple access tools to information but that nevertheless is increasingly difficult to understand the arts. Reflecting before the artistic production that is being developed through the 21st century, it is valid to ask how do the museums of the future be like? What will be your content to new trends in art?

Today museums are having an important transformation, which has even seen the need to rethink a new definition of this. Based on the inventories found in the great auction houses, a survey has been made on trends and it has been estimated what will be the new content (works of art) of contemporary art museums for the 20th century.

Museums are democratizing, inclusive and polyphonic spaces for critical dialogue about the past and future. Recognizing and addressing the conflicts and challenges of the present, they guard artifacts and specimens for society, safeguard diverse memories for future generations, and guarantee equal rights and equal access to heritage for all peoples.

Museums have no profit. They are participatory and transparent, and work in active collaboration with and for various communities in order to collect, preserve, investigate, expose, and expand the understandings of the world, with the purpose of contributing to human dignity and social justice, toworld equality and planetary well -being.

ICOM Museum Definition, 2019.1

From the knowledge of the history of the museum, and knowing that since ancient times there have been collections in the form of treasures, collection or historical curiosity. They were personal collections that enriched themselves with the trips of the owner and that responded to an element of status and snobbeUntil the birth of the museum as we know today today.

The art collections have changed according to their owner, at first the art belonged to the Church, then to the monarchy, the nobility and when the nobility lost its weight based on the patronage then here the bourgeoisie enters or the one who has money. To respond to these changes, new political, economic and of course cultural structures arose, which required new characters.

Modern Art Museum of New York (MoMA, for its acronym in English) The Pompidou Parisino Center. In the sixties, the concept of art center was born. These new museums and spaces are, apart from their social and cultural function, are legitimators of currents and trends, that is, the work of an artist does not reach maturity until he exposes in a museum. It should be taken into account that not all museums score in the same way, the Moma is not the same as Queen Sofia.

In 2004, a selection of the MoMA collection was shown in the National Galerie in Berlin. MoMA, who is the oldest and most famous Museum of Modern Art, was temporarily closed the demolished building and lead to a new construction that, at the same time, meant new conception of the museum and its presentation to the public of the most recent historyOf art.

The public’s journey no longer begins, with the "parents of modernity," Paul Cézanne, Paul Gauguin, Georges Seurat and Vincent Van Gogh, but with works and artists of the 21st century and whose presentation is reorganized every three or four months (asIn temporal exhibitions). The new MoMA takes a conscious turn to the perspective on the history of art in the face of traditional presentation, which progresses chronologically. The current art no longer appears as a result of a continuous development of the classic and modern orientations of art, but as a phenomenon per se, from which it is possible to illuminate retrospectively relevant moments in the history of modernity.

The acquisitions of a museum increase its heritage and complete the vision that is intended to give a period, style or historical moment, but they are also key elements in cultural promotion. The museum, between an indefinite amount of works of art suspended between the market and collections, struggles, theoretically, against alterations of aesthetic judgment to define.

In short, the museum, as a representative of the institutional apparatus is the main legitimator of the work of art. Félix de Azúa wrote “The traditional museum has a lot of freezer. The work, extracted long ago, from the real collections, of the nobility or the church, is shown as a trophy. Certainly the current work of art has not been created for a specific place, but the tendency of museology has been to denaturalize the pieces and turn them into objects of worship ”. Jeff Koons, Popeye 2009-2011

Contemporary art does not exhibit a strictly chronological criterion and, in its international version and commercial existence. The specialists, historians, scholars of contemporary art, art critics and conservatives, periods of art and the aesthetic characteristics of the works are no longer established. The term "contemporary", permanently revalue by international artistic competition, was imposed from the eighties. And since then, the breast of the artistic field no longer had the clarity of the fields- between the ancients and the modern, the figurative and the abstract- as was the case in the fifties.

The inflection point of vital importance for contemporary art is environments through the development of conceptual art, who directly and radically challenged the conception of the work of art, while the object to be experienced and understood requires a speech. Thanks to the unmodified readmade, art diverted attention to the idea instead of the object in itself, which led to a change in the nature of art, which ceased to be interested in the appreciation of the beautiful, of technique and itsmanufacturing to be interested exclusively in theoretical discourse. This change, this replacement for "aesthetics" by "idea," marked the beginning of "modern" art.

Since the early nineties, the international artistic sphere has been dominated by a deployment of various "post -conceptual" objects and practices that combine the freedom of the art media of the sixties and early seventies with marketing and disgustTowards the theory that characterized the reaction against that art during the eighties. The idea as art and the long and erratic subtitle of Lucy Lippard’s text, six years: the dematerialization of the artistic object …, refers to "called conceptual art such as the art of information or the art of ideas", which attestsof the multiplicity of terms used to designate the same discipline.

Since the mid -1980s, the term "appropriation" has been used to refer to reproduction by an artist of another artist’s work. However, in its origin and essence, this term denotes the transposition of an object of an extraartistic context to an artistic one and its consequent change of function in order to mark and at the time challenge the idea of art as a set of types of objectsconcrete. In the early sixties, this subaltern and discrepant branch of modern art had begun to make its way in Western museums as a legitimate category of "art".

The future of the Museum of Art before the new production of works "I don’t care that the work is destroyed while the idea prevails". Tony Capellán, Dominican artist analyzing the existing concepts to date, and projecting what the future generations could be requiring, we understand that by the twentieth century the real and virtual spaces will prevail, where artists who have been previously legitimized by the market,and institutions, will make exhibitions of works that will not have a tangible value, but will be creators of ideas, which will not necessarily have exceptional artistic value, but creative. That he took the viewer to the critical analysis of the work, and that would propose social, real or fictitious situations created by the artist.

The figure of the artist, as the character with exquisite domain of the technique will cease to exist in art, and will become guides of ideas suggested by the artist, with a concept conceived so that everyone builds or develops their own work or concept;Contributing the artist the name of him, the idea, but each person builds his own art or leads him to generate the restlessness to make each spectator to be the creator of his own art, without the need for the object as a work to prevail in time. Achieving in this way that the artist is a prestigious figure endorsed by the community and the artistic market, that the value is determined by the idea that he was the first and that it can be reproduced, selling the right of reproduction of the concept,which can be recreated by the owner. Maurizio Cattelan, comedian 2020.

This expectation leads to the spectator public will have the ability to interpret art as a critical object above the beautiful and delight object. This would lead to the public will require a philosophical background of the absurd object. The museums of the 18th century will be spaces of ideas, but not of unique works.

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