Sobre la autoría en obras de arte conceptual
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Soler Masota P. Sobre la autoría en obras de arte conceptual. Pe. i. Revista de propiedad intelectual. 2022;24(71):99-131
Abstract
El presente trabajo aborda uno de los ámbitos de marcado interés en el campo de la relación entre el arte contemporáneo y el Derecho de autor, a saber: cuál ha de ser la calificación jurídica de las aportaciones realizadas por quienes participan en la producción de obras de arte conceptual. El tema es de singular actualidad por haberse cuestionado recientemente ante los tribunales la autoría de ciertas obras de índole escenográfica realizadas bajo el sello de Maurizio CATTELAN, y que culminó con un pronunciamiento del Tribunal Judiciaire de Paris el pasado 8 de julio. Este caso hizo temblar el suelo bajo los pies del mundo artístico, hasta entonces en vilo. Cotizadísimos artistas conceptuales que suelen recurrir a auxiliares para realizar sus complejos montajes temieron por la «fragmentación» de su autoría y, con ello, ante la expectativa de verse sepultados bajo un aluvión de demandas de igual corte. Y, con ellos, museos y otras instituciones de arte, marchantes y coleccionistas públicos y privados aterrados, a su vez, por el desmerecimiento (y consiguiente devaluación del valor) de este tipo de obras. La sentencia les ha dado un respiro temporal. Este trabajo arranca con un primer apunte preliminar que nos acerca al campo del arte conceptual para, desde ahí, relatar críticamente los entresijos del caso de referencia. El estudio concluye con un apartado de reflexiones dedicadas, en especial, a los artistas y a quienes les asesoren, a los efectos de salvaguardar la tutela jurídica de sus obras y, muy en particular, su autoría.
The present study addresses one of the most significant issues related to the relationship between contemporary art and copyright, namely which should be the legal categorization of the contributions made by those who participate in the production of conceptual works of art. This subject is quite topical, since recently the authorship of certain pieces of work under the hallmark of Maurizio CATTELAN has been taken to court. This case culminated with a ruling of the Tribunal Judiciaire de Paris last July 8th. The grounds under the feet of the art world had quaked, till then on tenterhooks. Highestly prized conceptual artists who recurrently solicit the assistance of third parties to set up their complex works got scared at the eventual «fragmentation» of their authorship, fearing a trend of claims of analogous calibre. And so much alike was the reaction of museums or other art institutions, art dealers and collectors both public and private, all appalled by the unworthiness (and eventual subsequent depreciation) of this type of works. The sentence has provided them with a temporary break with. This study begins with a brief approach to conceptual art so as to, from there, critically recount the ins and outs of this case study. The exposition concludes with a section of steering observations dedicated, especially, to artists and their advisors, in order to safeguard the legal protection of their works and their authorship upon them.
The present study addresses one of the most significant issues related to the relationship between contemporary art and copyright, namely which should be the legal categorization of the contributions made by those who participate in the production of conceptual works of art. This subject is quite topical, since recently the authorship of certain pieces of work under the hallmark of Maurizio CATTELAN has been taken to court. This case culminated with a ruling of the Tribunal Judiciaire de Paris last July 8th. The grounds under the feet of the art world had quaked, till then on tenterhooks. Highestly prized conceptual artists who recurrently solicit the assistance of third parties to set up their complex works got scared at the eventual «fragmentation» of their authorship, fearing a trend of claims of analogous calibre. And so much alike was the reaction of museums or other art institutions, art dealers and collectors both public and private, all appalled by the unworthiness (and eventual subsequent depreciation) of this type of works. The sentence has provided them with a temporary break with. This study begins with a brief approach to conceptual art so as to, from there, critically recount the ins and outs of this case study. The exposition concludes with a section of steering observations dedicated, especially, to artists and their advisors, in order to safeguard the legal protection of their works and their authorship upon them.
