An uneasy coexistence: “traditional” and “contemporary” models in the art of Tucumán

Abstract

The field of contemporary artistic production in San Miguel de Tucumán presents a tension in its models, from a more “traditional” type of art linked to the regional and American experience to a “contemporary art” closer to globalized trends. In this scenario, since the 1990’s, an increasing production of “contemporary art” can be observed, characterized by the absence of stylistic canons and the plurality of languages, together with an alteration of the traditional perception and evaluation criteria. Once modified the production and reception codes, the contemporary production has elicited rejection in artists associated to a more traditional productive style as well as in the general public. This nonpacific coexistence between two ways of producing and understanding art has generated opposite discourses and symbolic struggles for the monopoly of the “artistic legitimacy”. The purpose of this work is to rebuild the genesis and consequences of these tensions and their impact on the productive dimension. In order to do so, we will focus our analysis on a specific case: the controversy raised by Alberto Petrina, National Director of Heritage and Museums, in the opening of the “Masters of the Argentine Engraving Exhibition” (“Maestros del grabado argentino”) at Timoteo Navarro Provincial Museum.