A propósito de la cúpula cochambrosa de Barceló

Parece ser que se está cayendo a pedazos. Y sigo parece porque los responsables están haciendo todo lo que sea porque no se sepa. La transparencia en el uso de los dineros de todos y en el ejercicio de las funciones públicas no está en entre sus preocupaciones.

En todo caso, el escándalo no está tanto en que la cúpula se está cayendo a pedazos. El escándalo está en todo el ejercicio de irresponsabilidad de un gobierno al que solo se le hace caso cuando paga la fiesta. Os dejo dos artículos al respecto.

El primero (Europe’s Multiculturalists: Reaching for the Marmalade Skies) es una crítica artística que acusa a esta «pintura de jardín de infancia» de vaciedad:

With its omnipresent fluffiness and unreality of color, Barceló asks us not to think, to provoke or be provoked, but to accept – to forego reason and immerse ourselves instead in childish dreaminess. Unlike Guernica, the Sistine Chapel, or the reliefs of the US Supreme Court building, it is a work in which dialectic cannot be discerned, nor from which it is possible to initiate debate. It is a work in which there is no hint of parliamentary opposition, no right versus wrong, no good or evil. It represents the vision of men who have neither gravitas nor substance. If we can discern its provenance, it leads back only so far as the 1960s, to the Beatle’s lyrics of «marmalade skies,» «tangerine trees,» and «nothing is real.» It is an LSD trip, or Futurism extra light.

Barceló’s ceiling is thus the perfect backdrop to Europe’s Prozac politics – the religio-political cult of multiculturalism – in which all difficult questions, all dissent, all real content, can be dissolved not by rational argument, but by the invocation of paint-box clichés.

La segunda tiene información detallada y abundantes enlaces sobre el caso y hace un análisis de la diplomacia Zapatero (Spain’s ‘New Way’ of Doing Diplomacy). Ojo al dato:

As Spaniards debate the artistic value of Barceló’s ceiling, however, excitement has turned into anger as Spanish taxpayers learn that they will be the ones footing the bill. The 13-month redecoration project has cost more than 20 million euros, all of which is being paid for by Spain. Some 60 percent of the money is coming from a group of Spanish companies that presumably have been pressured into joining a special NGO set up by the Spanish foreign ministry to «promote dialogue through the use of Spanish art.» The remaining 40 percent is being paid for by the Spanish government, including 500,000 euros that were taken from Spain’s overseas development aid fund. Barceló, who insists that the money was not «stolen from the poor,» will walk away with 6 million euros for his «long, hard, fun and ultimately orgiastic» efforts.

El último enlace lleva a un artículo de El País en la que queda negro sobre blanco y para la posteridad la presunción de Barceló. Mil millones de pesetas que ha cobrado el muchacho por dirigir lo que califica de trabajo divertido y orgiástico.

Más aquí.