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Avelina Lesper is right (she’s just a dickhead)

By: José Javier Gálvez

Avelina lesper, probably the most (im)popular art critic in the hispanic world, is well known for her harsh criticism of what she calls “VIP art” (Video, Installation, Permorfmance). In the famous book “El fraude del arte contemporáneo” (The fraud of contemporary art) she questions most of what is nowadays exhibited in museums and galleries, and why is it considered art.

Avelina’s voice sounds loud not just for the steadiness of her defense of canons of what can be considered art, but also for how offensive can some find her words. In the mentioned book, for example, she attacks Joseph Beuys, the famous german artist and his views on art: “To democratize artistic creation, as Beuys asked, democratized mediocrity and turned it into the identity sign of contemporary art.”

Avelina seems to hate everything the artistic market nowadays adores. In consequence, the artistic market seems to hate Avelina. In a recent debate against Graffiti painters, she had a cake smacked right in her face as a sign of protest for her critics about considering Graffiti pieces as art.

But even though she might feel she’s the one and only voice fighting on behalf what’s truly beautiful and artistic and her ego climbing the Everest Mount, she’s the voice we need in art.

If we consider any object or group of objects, any video or human action can be considered art, we don’t just lower the standards of beautiness in a discipline that has always been essentially about beauty.

Take for instance Charles Baudelaire. His poetry highly values the ugly, the grotesque. However, that does not diminish the technique, resulting in amazingly shocking pieces that are invaluable to anyone’s eyes. Instead, contemporary art does not value the technique but a magical and non material process we should all believe in, as if it was a god, in which a glass of water transforms into a million-dollar- piece of art.

Just as Avelina states, the art market and its members have contributed enormously to assassinate beauty in art to such a degree that anyone who shows up against the horrendous of their exhibitions receives direct attacks to the jugular. Therefore, although Avelina's voice may be unpleasant and her speech self-centered, hers is the voice we need. She is, without a doubt, an dickhead and the last person that one would look for as a friend. But, as soon as we talk about art, we have to look forward to her words as a symbol of rationality.

Art viewers must not be blind. I wouldn’t pay a buck for a Rothko painting, but surely its owners would be rich just for the fact it is a Rothko painting.

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