Autonomia social da arte: o caso do MAM-SP
Arquivos
Data
2018-06-10
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
O presente trabalho busca refletir sobre a questão da autonomia social da arte a partir da noção de campos de produção simbólica, conforme proposta por Pierre Bourdieu, aplicando-a universo das artes visuais paulistano. De acordo com o sociólogo francês, nos campos impera uma lógica “antieconômica” que denega os ganhos materiais, em detrimento do acúmulo do capital simbólico que só os próprios campos podem conceder. E, embora submetidos aos campos econômico e do poder político e, por isso, dotados de uma autonomia relativa, os campos estabelecem suas próprias regras de funcionamento, tornando-se refratários a quaisquer interferências externas. Por sua vez, a Lei no 8.313, conhecida como Lei Rouanet, instituiu um sistema de financiamento público à cultura. Um dos dispositivos previstos pela Lei, o mecenato, concede às pessoas físicas e empresas que patrocinarem iniciativas culturais pré-aprovadas pelo Ministério da Cultura o direito de deduzir, em parte ou em sua totalidade, de acordo com o tipo de projeto apoiado, os valores desembolsados dos montantes devidos ao Estado a título de Imposto de Renda. Essas pessoas e empresas obtém, além disso, o direito veicular seus nomes e logomarcas em toda comunicação das iniciativas culturais que patrocinarem. Dispõem, dessa forma, de um mecanismo que lhes permite, indiretamente, selecionar quais projetos receberão recursos públicos e beneficiar-se da publicidade decorrente do projeto patrocinado, contaminando-se com o capital simbólico produzido no interior do campo, distinguindo-se, enfim, entre seus pares dos campos político e econômico. Tendo em vista a escassez de recursos públicos, os artistas e demais agentes culturais veem-se submetidos a avaliações por partes de atores externos ao campo de produção simbólica, de acordo com critérios, muitas vezes, externos a estes. Diante desse cenário, nos propomos a averiguar o grau de interferência no campo das artes visuais possibilitado por tal mecanismo de financiamento à cultura. Para isso, o Museu de Arte Moderna de São Paulo, o MAM-SP, foi selecionado como objeto de análise, buscando-se verificar o quanto as decisões curatoriais do Museu foram afetadas pela nova dinâmica de obtenção de recursos públicos para ações culturais estabelecida pela Lei Rouanet. Em outras palavras, se o modus operandi para obtenção de recursos públicos para cultura conhecido por mecenato constitui uma ameaça à autonomia relativa do campo das artes visuais paulistano.
The present work seeks to reflect on the question of the social autonomy of art from the notion of fields of symbolic production, as proposed by Pierre Bourdieu, applying it to the universe of the visual arts of São Paulo. According to the French sociologist, an "anti-economic" logic prevails in the camps, which denies material gains, to the detriment of the accumulation of symbolic capital which only the fields themselves can grant. And although they are subject to the economic and political power fields and, therefore, endowed with relative autonomy, the camps establish their own rules of operation, becoming refractory to any external interference. In turn, Law No. 8,313, known as the Rouanet Law, instituted a system of public funding for culture. One of the devices of the Law, patronage, grants individuals and companies that sponsor cultural initiatives pre-approved by the Ministry of Culture the right to deduct, in part or in full, according to the type of project supported, the values disbursed amounts due to the State as Income Tax. These individuals and companies also obtain the right to convey their names and logos in all communication of the cultural initiatives they sponsor. In this way, they have a mechanism that allows them to indirectly select which projects will receive public resources and benefit from the publicity resulting from the sponsored project, contaminating themselves with the symbolic capital produced in the interior of the field, among its peers from the political and economic fields. In view of the scarcity of public resources, artists and other cultural agents are subject to evaluations by actors outside the symbolic production field, according to criteria, often external to them. Given this scenario, we propose to investigate the degree of interference in the field of visual arts made possible by such a mechanism of financing culture. For this purpose, the Museum of Modern Art of São Paulo, MAM-SP, was selected as the object of analysis, seeking to verify how much the curatorial decisions of the Museum were affected by the new dynamics of obtaining public resources for cultural actions established by Law Rouanet. In other words, if the modus operandi for obtaining public resources for culture known as patronage constitutes a threat to the relative autonomy of the field of visual arts in São Paulo.
The present work seeks to reflect on the question of the social autonomy of art from the notion of fields of symbolic production, as proposed by Pierre Bourdieu, applying it to the universe of the visual arts of São Paulo. According to the French sociologist, an "anti-economic" logic prevails in the camps, which denies material gains, to the detriment of the accumulation of symbolic capital which only the fields themselves can grant. And although they are subject to the economic and political power fields and, therefore, endowed with relative autonomy, the camps establish their own rules of operation, becoming refractory to any external interference. In turn, Law No. 8,313, known as the Rouanet Law, instituted a system of public funding for culture. One of the devices of the Law, patronage, grants individuals and companies that sponsor cultural initiatives pre-approved by the Ministry of Culture the right to deduct, in part or in full, according to the type of project supported, the values disbursed amounts due to the State as Income Tax. These individuals and companies also obtain the right to convey their names and logos in all communication of the cultural initiatives they sponsor. In this way, they have a mechanism that allows them to indirectly select which projects will receive public resources and benefit from the publicity resulting from the sponsored project, contaminating themselves with the symbolic capital produced in the interior of the field, among its peers from the political and economic fields. In view of the scarcity of public resources, artists and other cultural agents are subject to evaluations by actors outside the symbolic production field, according to criteria, often external to them. Given this scenario, we propose to investigate the degree of interference in the field of visual arts made possible by such a mechanism of financing culture. For this purpose, the Museum of Modern Art of São Paulo, MAM-SP, was selected as the object of analysis, seeking to verify how much the curatorial decisions of the Museum were affected by the new dynamics of obtaining public resources for cultural actions established by Law Rouanet. In other words, if the modus operandi for obtaining public resources for culture known as patronage constitutes a threat to the relative autonomy of the field of visual arts in São Paulo.