top of page


Irene García-Inés. Madrid, 1984

1. Private art should not require more manifest than the moral right of those who express themselves artistically
to do so with the greatest possible freedom, both of means, style, forms, languages, concepts, as well as of conscience and of the connection of that conscience with the universal conscience.

2. Schools and other educational and artistic institutions in Spain can only ensure that right if they have an autonomous political nature, which allows them to promote the empowerment of the free development of creativity, imagination, sensitivity and execution of works produced by anyone.

3. Art and culture are one of the most intimate, emotional and transcendent manifestations of a community, and therefore they establish very strong bonds between its members, by allowing the enhancement and sublimation of a common way of understanding survival: celebrating , relate, recognize, etc.

4. Public art therefore does require an urgent manifesto that takes it out of the utilitarian current ideological, mercantilist, individualist and elitist role at the service of a few to give service to the community.

5. Spanish public art has been configured as a private asset in which the community does not intervene as a creator, and is only taken into account as a recipient when it seeks to transmit ideology to it; Spanish public art is currently serving propaganda purposes, for the generation of debt and patronage networks, the attraction of mass tourism, the requalification of soils, the transformation of spaces into business fields, the banal decoration or the repair of urban errors. , among other things.

6. The Spanish public space seems to have lost the collective visual or perceptual meaning in favor of private projects financed with public money that have monopolized the common landscape.

7. Social communities at any territorial level of the Spanish Nation-State support public art economically and spiritually even if they are not aware of it.

8. It is urgent to reconstruct a cultural order of collective significance: visual, sound, taste, touch, smell ... that allows a complete reading and perceptual experience and helps to re-aestheticize and re-sensualize common life.

9. This new aesthetic can only be the result of a comprehensive project, ranging from the ecological, urban and social, to the political and philosophical. It will then tend to recover the Mediterranean city and town, energy efficient and materially attractive, by having elements of the place, artisan processes, own artistic productions, and places for meeting.

10. The Spanish Nation-State is a structure designed and constituted by the elite of the moment, at the service of supranational interests, without the capacity to inspire a coherent or genuinely community art.

11. Only communities can re-associate around natural ties, delve into their essence and express their feelings as a society, to redesign cultural expressions with which they feel truly identified, that allow social rejoicing and help to recover intergenerational coexistence.

12. The artists will once again put themselves at the service of the communities and will focus their gaze on people, common interests and collaborative action, withdrawing it from the cult of the personal ego.

13. In the same way that the originality in the artist's work is usually proportional to its deepening in the origin, which is oneself, also the communities will find mostly original expressions to the extent that they deepen in themselves and their roots.

14. Artists and communities will work together turning their gaze towards the past to rescue the valid elements when it comes to interpreting the present and the future more intelligently, overcoming the current denial towards collective memory and recovering it to drink from the cultural sources of its predecessors.

15. The "popular" and "rural" will therefore have a specific weight as inspiration for the community, given our
cultural idiosyncrasy based on the communal and the open council. It will be reconsidered that "All Spanish art linked to our land is not by chance" (García Lorca, 1933), as are not the idiomatic expressions of Castilian Spanish, or its nearly one hundred thousand sayings, nor that the term "culture" comes from "culture".

16. The communities will put in common the elements with which they feel collectively identified to review them, question them, screen them and make them evolve into a valid expression today.

17. Both the public access space and the public media (television, billboards ...) will cease to be
an element of visual pollution for ideological / lucrative purposes to have a pedagogical and artistic function serving as a stage for the new cultural representations made by artists and communities.

18. The community, organized in an assembly-based manner, will only be able to do this 100% effective when there is
recovered their freedom of conscience, and therefore the political management of the community's livelihood, space, and destiny, currently delegated to the Nation-State. This re-aestheticization will not only positively influence the general mood and will end the inhumanity of aesthetically depressing places of public access such as suburbs, hospitals, etc. rather, the experience of art will once again reside in each object and space, reducing the need to attend special and / or commercial places to maintain a relationship with it.

bottom of page