ARTE A UN CLICK, MEDIA PARTNER OF ART MADRID'18

Arte a un Click is a magazine, a platform for contemporary art and a catalyst for culture. It is also a fantastic team of committed professionals and for Art Madrid'18 it is a luxury to collaborate with them.

Arte a un click

Its main objective, as a communication platform of contemporary art, is to bring art to the general public, but, at the same time, they offer personalized and professional services for art fairs, artists, galleries and art centers.

Arte a un click

Arte a un Click activity focuses on fairs, festivals and exhibitions, although the web offers a wide variety of content. Interviews with gallerists, emerging and consecrated artists, directors of projects, combine with exhibition reviews, agenda... Always from a professional perspective marked by the search for understanding, approach and passion for art. José Luis Calleja Isla, deputy director of the space, explains that: "we want that the contents we offer reach the public in a fresh and sincere way, because our contents are not only curated but collected with art in mind and, above all, with the creators, authentic protagonists of our space."

Attentive to fairs and festivals, centers of sponsorship, exhibition and knowledge of all the novelties in the art of the moment and aware of the need for the collector and, therefore, the sale as a plausible and desirable option, another of their business branches it is the organization of exhibition projects for those fairs, such as those developed for Jäälphoto, ArtNitCampos, Room Art Fair, MARTE, Art & Breakfast, Art Photo Bcn and Cultur3 Club.

Obra de Irene Cruz

In 2017 its services have increased and they have specialized in online content, more adapted to the audience of the digital world. "The diffusion in social networks is nowadays a great challenge, the changes are vertiginous and continuous, and we can not pretend that the creator, the gallery owner or the curator is dedicated to follow those changes. For example, before twitter was a network that generated a huge movement, now, if you do not have a target audience very, very focused on what you offer, the scope is scarce. Facebook is still the most important network, although it may seem that Instagram is now the most influential network, we must bear in mind that these are different audiences. While the first one searches more personalized content, the second is aimed primarily at the younger generations. It is therefore necessary to define very well the market niche and decide which platform works best. Everything is tremendously fast, that is why it is so important that our networks are composed by a stable and faithful public that allows us to get quality content," explains Mercedes Palaín, responsible for RRSS in Arte a un Click.

"The starting point to establish a work strategy for a specific client is the detailed study of what he wants to offer to the public, it is not the same to promote an emerging artist in networks than to support the work of a gallery that has been open for years. We need to study in detail what he has done to spread his space or his work in order to be able to offer the resources that produce the most with the least possible investment, which is what everyone is looking for, "adds Mila Abadía, director of the platform .

Among its clients, in addition to Art Madrid, stand out MARTE, International Fair of Contemporary Art of Castellón, the gallery of Santiago de Compostela OlaLAB Cultural Action and the gallery of Barcelona Art Deal Project. "Writing about spaces and fairs of such interest is always a challenge, expressing what you feel and doing it trying to get the reader to penetrate what you are perceiving is a unique experience," explains Ana Gr Yñañez, journalist in Arte a un Click.

Mujeres Mirando Mujeres

One of the main and most recent projects of Arte a un Click, for the quality and the wide recognition obtained, is "Mujeres Mirando Mujeres", which celebrates its fourth edition. This online initiative claims the preponderant role of women in the artistic field and, year after year, thanks to the commitment of its participants, it is more and more relevant in the social debate about Art and Gender.

The project was based on the individual invitation to different agents of art, but now they have opened the call and its platform of visibility to all those cultural agents who want to apply to participate and join one of its formats: PRESENTATIONS of artists made by curators, galleries, directors of art fairs, managers of cultural spaces, museologists, or theoreticians. INTERVIEWS of artists made by bloggers or specialized journalists, and INVITED PROJECTS. Initiatives managed or curated by art managers, always oriented to implement actions of a collective that supports artists. They publish the articles daily starting on March 8, International Women's Day.

In this edition they extend the project with the collective exhibition "The power of the presence" (Est_Art Space, Alcobendas, Madrid, from 16 of March to the 15 of May), with artists of the three first editions. "With the exhibition we want to highlight the fact that the empowerment of women in all areas of life goes through presence, being and doing. We seek that the artists reflect on the positioning of women in the art world and the questioning of commons themes in which the women have been relegated. We seek works that change the discourse of dominance, narratives with a liberating perspective for women in art, also artists as transforming agents of reality", explains Adriana Pazos Ottón, artist, curator and part of the Arte a un Click.

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.