PAC PRESENTS THERTIFY: THE APP FOR E-COLLECTING ART HAS ARRIVED

PAC Plataforma de Arte Contemporáneo, Art Madrid'19 media partner, presents its latest project: Thertify, an innovative application for all art lovers. In an agile and intuitive way, from now on with Thertify, artists, collectors, art galleries, institutions and any other interested person will be able to connect simultaneously through an online platform that allows ordering, certifying and sharing artwork collections.

It is a new application that opens infinite possibilities because it takes in a network that allows storing, classifying, managing and connecting data regarding works that shape an art collection. In addition, it offers a new online authentication format that includes the possibility of certifying the authorship of the piece digitally.

"Connect, organize, classify, save, certify, revalue, disseminate and promote the most current art through Thertify"

As its creators explain, "the art market is undergoing a complete revolution and its transformation comes hand in hand with the Internet. The network has become, not only a tool for managing and art purchasing but also a global showcase where to see and be seen. The digital age has created a new way of enjoying and consuming art and with it new generations of collectors. "If we live in the Information Age, of the new media and virtual reality, why not benefit from the advances that, in the same way, can also be applied to the culture sector?

Available for IOS and for Android, where you can download this revolutionary App and discover a new concept of collecting created for our digital era.

As many of you know, PAC Plataforma de Arte Contemporáneo is one of the cultural digital spaces with the greatest growth and impact of recent years in the Spanish-speaking context. Formed by a young and vital team of editors and collaborators, with Óscar García leading them, they maintain a close relationship with contemporary art, the current exhibition scene and the exhibition circuits.

In addition to the extensive and always updated content it offers, PAC stands out for developing and getting involved in different projects, such as publishing the "Ensayos Absolut", "PAC on Tour" or "#ProyectoPuente", the first Urban Art Auction held in Spain. Among these projects the #NOPORAMORALARTE stands out, becoming one of the most interesting initiatives of the sector. Under this slogan, the project promotes the real, fair and economic recognition of the work of artists and other agents of a sector in which, unfortunately, much remains to be improved in relation to professional practices. PAC achieved the empathy and support of numerous artists, curators and collectors, and even a documentary about the experience was created. Another of the most interesting initiatives is "Woman Art House", coordinated by Sara Torres. The project, born within the Twitter network and today also promoted by PAC, aims to vindicate the role and trajectory of contemporary women artists in the history of art, from a rigorous, educational and inclusive vision.

For more information about Thertify please check out here

 

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.