how do you feel each one of you
when you face a work of
creation when you put in front of a
picture when you are reading a book
when you are listening to music that is
in short how do you feel or how
we feel
when we are public for it we are going to
have the help of federico garcía lorca
that in his work the public begins
the following way in the scene is
the director only the central scene
servant says sr
the director who has created there is the
public director that happens and in that
Four horses enter the scene
whites
the idea of the horse the image of
horse can have many readings for
I have the idea of the image of the
nobility of the beauty of the wild of
the close also but also in the
idea of the unknown of the unexpected
of which we do not know how it will react
and surely Lorca was talking about
that because for the creator really
who cares the true creator is
the public because his reaction of his
understanding of their acceptance or not
will depend not only is it now concrete
but any work of creation and of
creation processes let’s talk
picasso when he talked about his process of
creation they asked him I said no
I look for an encounter many have been made
interpretations of this statement of
picasso but I like to think that
the interpretation has to do
just with the process not so much as
begins or how it ended but what happens in
means what we call the process of
creation
because the term creation does not want
say something other than bring something to light
new something that was never known before
something that we had never seen in
definitively bring to light something that can
expand and that extends the limits of
world or at least our consciousness of
that world because what else is a
work of creation without a door of
access to unknown territory a
unknown territory that never before
we had traveled and that thanks to the
work of creation we can travel but
Now let ‘s think for example what we
wants to tell an artist and we’re going to
choose one well-known there
will see on the screen those three
wonderful portraits that are in the
Vienna Fine Arts Museum
the infanta daisy person to whom
Velázquez now evidently today are
some of his most beautiful portraits
surely if we observe it with
naturalness carelessly almost
we will think that we are facing a window
before a door to the 17th century Spanish to
the Spanish court how they dressed as
it was the furniture like
finally they were in the scene but
maybe not
maybe Velázquez was opening a
door does not open a door to heaven
17 but what is opening us from
the 17th century a door to the 19th century to
20th century
if you look at the portrait carpet
more infantile of the infanta margarita no
it sounds like some of the paintings of
Matisse from the time he visited
Spain and Morocco and if you look at that
wonderful vase
there is not a lily that he has painted
very similar to some painter without an ear or
they do not see in the
background on the tablecloth in the suit itself as
that I paint manet that was just one
of those who rescued Velázquez in the
century in the second half of the century
nineteen of truth I forgot that
where I was because and now we’re going to
see other work by velázquez maravilloso
the portrait of the innocent Pope 10 when
dad saw that portrait before the stupor
that produced the image of himself
that Velázquez had grasped the only thing
he could say was troppo vero that
means in Spanish too
true and is that Velázquez not only
he painted the cold, malevolent look of
that particular character but after
of that look and that portrait nobody has
managed to paint the image of evil
the expression of evil better than
made Velázquez in that portrait and that
understood the portrayed to his stupor
that was the look of evil and because
Velázquez gets that because
Velázquez does not paint a character
concrete does not paint a concrete environment
Velázquez paints the illusion of
ambient
the illusion of the character and before the
The territory of illusion is a
territory completely open towards
forward I was already saying behind is not
painting
for today he is painting for today to
tomorrow for the future and that is the
true quality of a work of art
a work that we do not know exactly
decipher in full that does not stop
many and does not leave us many questions
leaves us unanswered by others
we found that we can not say with
clarity that happens and as San Juan said
of the cross in the spiritual canticle a
I do not know what are left stammering
true works of
they always leave us stammering before the
surprise and stupor pleasure pleasure
the ideas that come up arise in our
head
we want more always with a great work
of art
for centuries for many
generations
our collective memory is gone
expanding with works that have gone
adding the story but that’s the
history that the
historians but I want to talk to you
from another story in the story that
each one of us as individuals
we can build the historians
they build the official story and
we can build our
particular history and
often when we are faced with the
artwork
we go to a museum we always have
reference we have always known something
we have seen something we have studied something
it seems that we are looking for in those works
of art what we already know of her as
if we were in a game of
pastime of a hobby magazine
to look for the clues that we already know
previously but what I ask you today
I have asked a question and now I am going to
make a sincere request and
modest request what I ask you today is
that when they face
after today surely many already
will do before an unknown work of art
I do not care a book a music a
picture is planted before they are put
before now in a state of ignorance
seek ignorance seek to forget
everything they know
I already know that it is impossible but
unless they have that attitude they face
a work of creation as if not
they knew nothing or did not have any
reference of that work because the work if
they do that is going to make a great gift
is going to show him that he was there
waiting for you
in particular nor to the previous visitor
nor to the one who will come after each of
us and if that miracle of
communication
that miracle of sincerity naivety
purity white horses as
you will receive you will receive a huge prize
the ticket prize the brotherhood of
the co-authors can be co-authors of
that work because the great artists
they know that with their works they can undress
to the public but they know that the public
they can also help them
find the errors find what
they tried to hide or even discover
things that when they did not
they knew what they were doing and that
is the territory of the co-authorship that
that allows us to complete the
work of art
let’s continue with Velázquez
this picture we have seen everything that
happens in the box
there is a scene where there is a painter is a
self-portrait that is working in a
canvas
we know that he is working in the
portrait of the kings because they are
reflected in a mirror that in the background and
we know that kings are not seeing
what your work but nevertheless
Velázquez if you allow your work to
see
the infanta margarita the owner of the dog
the buffoon the child say innocent beings
beings like the white horses of lorca
but kings is not just behind
of the kings every day when the
museum among a crowd that
respectfully behind the kings
they are also in sight of Velázquez
surely Velázquez every day when
begins to arrive the public chooses one
from us because our face our
expression can serve you for
convey a universal idea
see true but that metaphor of that
picture that fundamental what is us
saying the artist what Velázquez
is telling us is that the trade of
create is a building that does not end with
death is an eternal office is a
trade against time and that the
true work of art is a work that
they fight each day for their survival
beat the time by telling him
nobel literature prize eugenio
mount the nervous system of
contemporary guy could not
withstand the stresses that life
contemporary produced the
uncertainty and that the response of
guy with contemporary was
become mass to take refuge in the
mass hide in the dough
in that sense to the extent that each
one of us get closer to a
work of creation in this open way
in this innocent way we will be
contributing to not being mass because
we will be contributing to maintain the
diversity to maintain the discrepancy to
keep different appreciations
intellectual aesthetics of judgment and that
is what makes the work of art possible
What the work of art allows us is
enter a world of creation in a
world of experience in a world of
thought that moves us away from the mass
but not only that will have a benefit
particular for each one of us
have a benefit for the whole society
marcel duchamp who is the artist who
more theoretical influence at least
recognizable has had in the second
half of the twentieth century and that has not yet
been arrested
not in what he called the 21st century speaks
of the work of art as an artifact
as a device always open and
always able to generate new
thought not new speeches
opinions
in that sense I can not be more than
agreement because in the end that work of art
that work of creation when we
as clean individuals of the
environmental and pollution
prejudices and what we know and what
we ignore about that work of art
We are helping to unveil it and
I went back and go back to the idea of the
co-authorship because the day we are
able to uncover all the secrets
that a work of art has will no longer be
a work of art is a decorative work
a work that gives us information a
beautiful work even useful for
historians but has now stopped
be what it was created for
fight against time because of course
when a work is done
we think it’s done for the generation
that will enjoy the alienation
of the author but it’s not true
in the case of Velázquez in the case of
Picasso in the case of Altamira have
spent hundreds of generations of
that its authors did not know anything
they did not know anything about what was going to
come
and yet there they resist because
because they found the door secret
of the secret that still follows us
fascinating each one of each of
we therefore the light that illuminates
a work of art a work of creation
it is not the light of the spotlights that are in
the walls of the museums
for me the light that illuminates it is the
look at each one of us in
our look to the one that illuminates that work
or not but we have the possibility
that illuminates and illuminates us
to ourselves
the same could be said abused a
little of the painting because it is a
territory in which I move with more
ease but the same could be said
of literature and here I want to quote
an Egyptian and Jewish writer expelled
of egypt in the 50s by nasser that
expelled the Jews from Egypt though
that has not been spoken much in very serious
and to which I had the opportunity to know
and in one of his mother in one of those in the
quote from his wonderful book of
questions and says enter my word in
and dark dwelling on one side and another of the
silence
we will both be the same voice as that is
applicable to any creation work
and
I would like to end with an anecdote
since we are in almeria and and I am
very from the earth that happened to me being
Director of the Sofia Queen Museum
came an excursion from my town of
pulpi that organized the association
from there to visit the museum
and well I made an effort
special in all were known today are
recognized for doing a guided tour
knowing the difficulty because the
most of them did not have any
notion of art and of course of
contemporary art for doing that
kind interesting in order to try
open it is a door but to all
and at the end of the visit in the
hallway between the two elevators
from the fourth floor
there are some windows that light enters
afternoon sunset was a
Winter afternoon and wonderful health
of the winter and autumn madrileño
it came in perfectly straight and generated
some pictures of golden light
appear front and one of the ones that came
told me he hears pp this we ‘ve seen this
Later I was interested but the work
what I liked most this afternoon the
visit that health
I think that is a work of art
it really touched me because I understood
that person who could appreciate that
I had light what I come to ask you today
another request is to tell them that
intercede each of you
try to discover your own light
to continue illuminating the world
thank you very much
[Applause]
”
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