Del espectáculo cultural y sus efectos: arte y políticas culturales en Santiago de Compostela = The cultural spectacle and its effects: arts and cultural policies in Santiago de Compostela (original) (raw)
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Del espectáculo cultural y sus efectos. Arte y políticas culturales en Santiago de Compostela
Espacio, tiempo y forma. serie VII Historia del arte, 2015
In the nineties Santiago de Compostela became a prominent implementing of large- scale cultural policies example. With generous funding, ambitious architectural projects and cultural programs were conducted. Although the overall assessmentof their effects on urban and economic level is very positive, in the specific fieldof arts opinions are problematic. This research aims to clarify the implications ofthese policies in the field of visual arts, from an approach to the debates within thecommunity of creators and managers of cultural spaces.
Thiasos Monografie, 11, 2018
Known around the world as the final destination on the Way of St. James, the historic city of Santiago de Compostela has been a UNESCO World Heritage site since 1985. Striking a balance between the conservation of monuments and the dynamics of the centre-periphery relationship, a special plan for the protection and restoration of the historic city was implemented in the 1990s. Yielding excellent results, the plan received widespread international recognition, most notably in the form of the 1996 Europa Nostra Award for the restoration of a historic centre, the European Commission’s European Urban and Regional Planning Award in 1998, and the 2002 Dubai Award for best practices to improve the living environment. Taking as a reference urban renewal projects based on iconic and eye-catching buildings, such as the Guggenheim Museum in Bilbao, the regional government of Galicia decided in 1997 to build a vast cultural complex comprising a museum, technology centre, library, archive, opera theatre and art centre on a hill some two kilometres from the historic city. Following an international tender process, the design – named The City of Culture of Galicia – was entrusted to the architect Peter Eisenman in 1999. The winning project involved creating a street grid replicating the layout of the city’s historic centre and superimposing it on to waves of stone reminiscent of a scallop shell, a time-honoured symbol of the pilgrimage to Compostela, among other shapers from the mythical and secular history of the site. Despite its stated intention of reflecting Santiago’s historic centre and the ideals of participation and democracy that were the basis for the shaping and the identity of European cities, the project has been dogged by controversy. Weighed down by its formalist excesses and too far removed from the rest of the city, it has ground to a halt and remains unfinished, more than 15 years on from its inception.
Resumen: Las grandes infraestructuras culturales han constituido en los últimos veinte años los principales objetivos de las políticas culturales, como herramienta clave para el desarrollo urbano y como símbolo de globalización de la marca de la ciudad. En el Estado español, se han desarrollado ciertas de infraestructuras que por su sobredimensionamiento pueden ser calificadas de "elefantes blancos" culturales. Su génesis responde a la adopción del modelo de la ciudad creativa que conlleva numerosos problemas de sostenibilidad y plantea numerosas dudas sobre su utilidad cultural y ren-tabilidad social. Este artículo analiza este debate a partir de la comparación del caso de la Cidade da Cultura de Santiago de Compostela y la Ciutat de les Arts i les Ciències de València. Abstract: In the last twenty years, major cultural infrastructures have been the main objectives of cultural policies, as a key tool to urban development and as a symbol of globalization of the city's brand. In Spain, some cultural infrastructures have been developed that, due to their oversizing, can be described as cultural "white elephants". Its genesis responds to the adoption of creative city's model that entails several issues about their sustainability and they present numerous uncertainties about its cultural usefulness and social value. This article analyses this debate based on the comparison of Santiago de Compostela's City of Culture and the Valencia's City of Arts and Sciences. 1. Introducción: la política cultural en la ciudad neoliberal L a relación entre los modelos de desarrollo local y la política cultural es uno de los puntos de debate clave sobre el rol que desarrolla la cultura, en el que han destacado algunas ciudades deseosas de proyectarse como ciudad global (Sas-sen 1991) o ciudad creativa (Landry y Bianchini 1995). En el marco de estos análisis se ha destacado la creciente importancia de las orientaciones instrumentalizadoras
Boletín de la Asociación de Geógrafos Españoles, 2013
Santiago de Compostela, una pequeña ciudad periférica del Noroeste de España, es uno de los principales destinos turísticos del continente europeo. Las estrategias de promoción urbana y de creación de una imagen de capital cultural e histórica han logrado este éxito. Desde el último cuarto del siglo XX, las administraciones y agentes urbanos privados han construido una fuerte imagen pública a través de la idea del Camino de Santiago y de los Años Xacobeos. Cuando hemos finalizado uno de estos eventos, el de 2010, conviene analizar como en la prensa, en Internet, en las campañas promocionales públicas y privadas, en las iniciativas culturales, en las guías turísticas, en la obra de los artistas y en la literatura se refleja esta particular visión de Santiago de Compostela. Una imagen hecha a través de su Patrimonio, de su historia y de su funcionalidad cultural y turística. A cambio, la realidad social y los espacios de vida ciudadanos compostelanos desaparecen de su representación pública. Santiago de Compostela, a small peripheral city in North-western Spain, is one of the major tourist destinations in Europe. The strategies of urban marketing and an image of cultural and historical capital have achieved this success. Since the last quarter of the twentieth century, governments and private urban agents have built a strong public image through the idea of the Way of Santiago and the Jacobean years. When we are finishing the lasts Jacobean year, the 2010, it should be analyzed this particular image of Santiago de Compostela in the press, in the Internet, in the public and private marketing campaigns, in the cultural initiatives, in the tourist guides, in the work of artists and in the literature. An image made through Santiago’s heritage, its history and its cultural and tourist functionality. In exchange, the social reality disappears of the Compostela public representation.
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