puentes For the plastic artist Sara Diciero, to as well elaborate a note for a magazine of art MEXICO.



1) Existe official support for the development of the Plastic Arts in general and the artists?

By official support to the art, I understand an integral policy, not only sporadic financial supports, isolated scholarships or exclusive prizes. This implies an educative policy in the different levels, a revaluation of education by the art (absolute revision of general the educative plans, nonspecific of the art) and a later perspective to the expectations and projects of a potential artist, until even international a political decision. In this sense there is no it.

2) Comparativily with the stage of your beginnings like A.P. as it is the situation for the young authors?

It forms to me like architect, although I believe that the generational dreams and utopias can be shared. I believe that my generation lived attempts isolated to construct project of country different, since thus I understand that the problem must be conceived, like a integralidad. In this aspect, triumph a development model, where the values that center the thought towards the "utilitarian thing" are those that prevailed.

3) Hay more possibilities of development for the plastic artists of today?

Of course, like always, but when considering that countries or communities that did not have any panorama of future, finally survived and came out ahead. I believe that the key is to become aware that the art is not constructed imitating models, to other countries nor to other movements. Not even to false regionalismos, nationalisms or some "ismo", trying a growth I only authenticate and without isolating itself of the society.

4) As they are the stylistic tendencies of the Argentine art (in the new values, common artists and consolidated artists)

the necessity that we have in urgent form is to come off to us the fashions, perhaps is them also like "the tendencies", something negative if they are impelled by vanguards, vanguards that instead of being handled by ideologies or intelligences, are lead by occasional and opportunistic interests.

5) That knows in artistic means of BsAs of other international movements, other outstanding artists in Spain, Italy, the USA, Mexico, China, Africa and of their neighbors Brazil, Chile and Uruguay?

Perhaps two worlds coexist; by a side real and that prevailed or we would have to wish that it prevails, the world of the great mass of artists that tries and as it can construct what tries to extend, to leave a legacy, to look for. On the other hand the world lead by "who" try to offer what the "money demands", curators without interest in the risk and artists acomodanse to the necessities of this world. Memory the anecdote of that I always criticize that when Pollock was not well-known, it said that its painting seemed a vermicelli plate. The same one I criticize, when the extended artist and was famous, I praise its painting the same one, the one that was a vermicelli plate. Let us leave those that impel their interests follow in his hipocresía, we have we in sure who are they and who we.

6) sustainable critical Hay jeje in the Argentine plastic art?

Sincerely NOT... Perhaps some person very solitarily.

Oscar Gagliano - ogagliano@gmail.com