How was art impacted by the new coronavirus pandemic?

How was art impacted by the new coronavirus pandemic?

With museums, galleries, cinemas, theaters and other cultural devices closed due to the pandemic Covid-19, the artistic sector has suffered great financial losses. Considering a scenario that was no longer encouraging, with cuts in public policies to promote culture, many artists see a desperate future if nothing is done.

However, the pandemic and social isolation can represent a revival of art. Almost like a phoenix rising from the ashes, several artists have endeavored to continue producing. Now, social networks have a crucial role in the propagation and sharing of works, occupying, at this moment, the place of the old closed equipment.

The popularization of

The first, almost instantaneous, effect of the pandemic was the increase in the number of . With the beginning of social restrictions, it was no longer possible to fill concert halls or stadiums, the solution found by many artists, especially those in the musical world, was to broadcast their performances live over the Internet. The strategy, it seems, worked very well. Artists like I love you, Gusttavo Lima and Jorge & Mateus reached a number of views in the millions.

It is not yet certain whether the advent of women is here to stay or whether it will be remembered only as a symbol of the present moment. But it is evident that live broadcasts represent a unique and innovative opportunity for the music industry and its sponsors to reach the public.

Covid Art Musuem, the pandemic museum

A super interesting initiative created by the trio of Spanish publicists Emma Calvo, Irene Llorca and José Guerrero, which aims to share artistic works that reflect the current moment. The digital museum already has more than 119,000 followers on Instagram and brings together paintings, photographs, collages and other types of visual arts by artists from around the world.

The initiative emerges as a way to record the impact of the global health crisis on visual arts and on the artists’ way of producing. Any artist can submit his works to the CAM collection, however, he must fulfill the main criterion: make some kind of reference, reflection or criticism to the current moment.

The reinvention of conventional equipment

Despite the emergence of new ways to exhibit artistic works and the popularity that these new media have gained in the midst of social isolation, conventional equipment (museums and physical galleries) has been trying to adapt to this new universe.

MASP – Museum of Art of São Paulo

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at home João Batista Castagneto (1851-1900) was born in Genoa, Italy, as Giovanni Battista Felice Castagneto. He followed his father’s profession as a sailor, and in 1874 he traveled with him to Rio de Janeiro, where he settled. Despite a very precarious level of education, he studied with Victor Meirelles (1832-1903) and Georg Grimm (1846-1887) at the Imperial Academy of Fine Arts, where he joined in 1876 as a listener, circumventing the maximum age for enrollment in school. He referred to himself as a mere ‘boat painter’, painting seascapes. His paintings were made by pasting the oil paint spread nimbly in long strokes, on canvas or rigid supports, often lids of cigar boxes. This production represented a renewing attitude in Brazilian painting, introducing a more sensitive, intuitive and modern landscape. Castagneto, the bohemian painter of the sea, lived in a house that resembled a boat on the old Praia de Santa Luzia, in downtown Rio de Janeiro. It was in the last ten years of his life that he executed the most powerful navies, through a subtle and delicate pictorial treatment, also marked by precise and violent gestures. MASP has three works by the artist, including ‘A salvo on a grand gala day in the bay of Rio de Janeiro’, one of his most iconic paintings. The canvas was the center of a controversy that marked Castagneto’s troubled relationship with the Academy. It is an ambitious project, the only great historic navy produced by him, which did not, however, free him from having his entry refused in the collection of the National School of Fine Arts, for disrespecting the values ​​disseminated by academics. João Baptista Castagneto 1-3. ‘A salvo on a grand gala day in the Bay of Rio de Janeiro’, 1887, donation Mário de Oliveira, 1949 4. ‘Landscape with river and dry boat in São Paulo (Ponte Grande)’, 1895, donation Assis Chateaubriand 5. ‘Navy with a boat’, 1885, donation Assis Chateaubriand, 1947 #maspemcasa #castagneto #acervomasp # acquisemtransformation

A post shared by São Paulo Museum of Art (@masp) on Jun 19, 2020 at 6:35 pm PDT

A good example of reinvention during the pandemic is that of Masp, which, since the beginning of April, has endeavored to reach the digital public. With the doors closed, the museum invested in social media to continue bringing art to the public.

The MASP profile on Instagram, which today has over 515 thousand followers, was one of the vehicles chosen in this “digitization” of the museum, being used in the live transmission of conversations and discussions between museum curators and other art specialists.

Folk art and the pandemic

Popular artists were, without a doubt, one of the categories most affected by the advancement of the new coronavirus. Considering that they often do not share the same support networks (either government or private sector) as other classes of artists.

A good example of this is the cancellation of São João in the Northeast. The popular festival represents a very interesting source of income for artists in the region, during this period, there is usually a greater search for accordion players, cordelists, forró groups and other artists. As large commemorative festivities will not take place, in general, those financed by municipal governments, many of these professionals find themselves in a difficult situation.

Joint action by the public and private sectors is necessary in order to promote some type of financial security for artists, especially those who do not have major sponsors. This is the only way to get through this period without compromising a generation of artistic works.

Art needs to be considered as an important vector for the propagation of social reflections and criticisms, besides, of course, being a market that moves millions annually. In view of these aspects, sacrificing artists today may represent an artistic deficit and a drop in the sector’s revenue in the future. Nor can we exclude from the problem the need to bring art to digital media, an issue that should be part of discussions about art even after the end of the pandemic.

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