{"id":31839,"date":"2015-05-04T05:59:21","date_gmt":"2015-05-04T05:59:21","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=31839"},"modified":"2024-06-11T19:55:00","modified_gmt":"2024-06-11T17:55:00","slug":"critica-e-ideologia-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/critica-e-ideologia-oscar-tenreiro-degwitz\/","title":{"rendered":"[:es]Cr\u00edtica e ideolog\u00eda | \u00d3scar Tenreiro Degwitz[:gl]Cr\u00edtica e ideolox\u00eda | \u00d3scar Tenreiro Degwitz[:en]Critique and ideology | \u00d3scar Tenreiro Degwitz[:]"},"content":{"rendered":"

[:es]<\/p>\n

Hago esfuerzos por seguir el prop\u00f3sito de alejarme un tanto de lo que acontece en mi pa\u00eds para terminar una serie de comentarios que hab\u00eda venido haciendo sobre la cr\u00edtica. Y hablo de esfuerzo porque las \u00faltimas cosas que han salido a la luz, las cuales los venezolanos ya conoc\u00edamos y exponen de modo m\u00e1s directo un panorama altamente corrompido, hacen que apartarlo de la mirada se convierta en una empresa muy dif\u00edcil. Lo hacemos sin embargo, no sin antes preguntarnos si es ceguera total o simplemente tonter\u00eda, oportunismo o miedo de perder un cargo, lo que hace que algunos altos funcionarios del R\u00e9gimen, entre ellos colegas que han disfrutado del Poder, sigan sosteniendo un proyecto pol\u00edtico mediocre y pervertido haciendo un insensato esfuerzo para ocultar el inmenso amasijo de mediocridades, inconsecuencias, asalto a los fondos p\u00fablicos y desverg\u00fcenza que lo caracteriza.<\/p>\n

Lo vivido en estos \u00faltimos meses venezolanos hab\u00eda interrumpido los comentarios que le dediqu\u00e9 a la cr\u00edtica y me quedaban por publicar unos apuntes dedicados al inc\u00f3modo y con frecuencia funesto peso que la ideolog\u00eda como superestructura ejerce en la visi\u00f3n cr\u00edtica de la arquitectura, peso que tuvo consecuencias en el debate de los a\u00f1os sesenta del siglo pasado, cuando en ciertos sectores marxistas se hizo el in\u00fatil esfuerzo de despojar al ejercicio de la arquitectura de los \u201cprejuicios art\u00edsticos\u201d a la vez que se convert\u00eda a los aspectos t\u00e9cnicos vinculados a la concepci\u00f3n y producci\u00f3n del edificio en la referencia fundamental para evaluar la pertinencia de una arquitectura, de su valor como resultado.<\/p>\n

\"Cr\u00edtica<\/a>
Angelus Novus, grabado de Paul Klee, 31 x 24 cm., pintado en 1920 | oscartenreiro.com<\/span><\/figcaption><\/figure>\n

Esos apuntes no son sino eso, reflexiones cortas que no aspiran a otra cosa que situar nuestros puntos de vista acerca del ejercicio cr\u00edtico. No pretenden ser exhaustivos y menos a\u00fan de rango acad\u00e9mico, pero fijan con su parquedad el tono general de lo que escribo aqu\u00ed, inspirado sobre todo por un deseo de comunicaci\u00f3n que quiere ser de lenguaje accesible a todos, fuera de pretensiones especializadas.<\/p>\n

Pero no es s\u00f3lo la cuesti\u00f3n ideol\u00f3gica sino el muy extendido intento de hacer de la cr\u00edtica algo as\u00ed como una rama de la filosof\u00eda, una suerte de filosof\u00eda del ambiente edificado, lo que considero tambi\u00e9n un ejercicio equ\u00edvoco que ha servido en los tiempos recientes para edificar prestigios arquitect\u00f3nicos sobre bases muy endebles. Me temo que ha contribuido a ello la proliferaci\u00f3n de cursos de post-grado y doctorados sobre \u201cteor\u00eda de la arquitectura\u201d, modo de discurrir que quiere ser un cuerpo de conceptos que fundamentan el ejercicio de la arquitectura, sin dar debida reflexi\u00f3n a la imposibilidad de elaborar teor\u00edas sobre actividades como la nuestra, que si bien con importantes contenidos t\u00e9cnicos, sigue procesos basados en la intuici\u00f3n, en el manejo de referencias provenientes de una enorme diversidad de or\u00edgenes (de la memoria, de la experiencia personal, de la capacidad de invenci\u00f3n, de los saltos de genio muy localizados y espec\u00edficos pero eventualmente presentes, de asociaciones de im\u00e1genes) que se resisten al razonamiento y no encuadran en el mundo de los conceptos.<\/p>\n

A esa intenci\u00f3n de pensar la arquitectura la he llamado cr\u00edtica filosofante y estoy persuadido, repito, de que ha servido de fundamento para convertir en figuras de la arquitectura a personalidades, e incluso edificios, que poca atenci\u00f3n hubiesen merecido en tiempos menos atentos a los despliegues \u201cilustrados\u201d.<\/p>\n

En virtud de algunas de las cosas que acabo de decir y de muchas otras que he expresado en textos que deseo publicar oportunamente, he promovido la idea de ir hacia un modo de ejercer la cr\u00edtica de arquitectura an\u00e1logo al que ocup\u00f3 lugar en tiempos de la primera modernidad (hasta la Segunda Guerra y un poco despu\u00e9s) cuando un pu\u00f1ado de pensadores de bastante calibre, no dependientes de la industria editorial sino de sus propias convicciones y de su prestigio intelectual, fueron acompa\u00f1antes de los intentos de cambio de los arquitectos que buscaban erosionar el pensamiento acad\u00e9mico y realizaban una obra significativa en medio de innumerables dificultades. Eran tiempos muy cargados con la controversia ideol\u00f3gico-pol\u00edtica, pero buena parte de esos hombres de pensamiento, pudieron mantenerse en un espacio intelectual m\u00e1s aut\u00f3nomo hasta lograr promover una arquitectura cuya autenticidad en t\u00e9rminos de valores est\u00e9ticos asociados a la respuesta a problemas acuciantes de ese tiempo hist\u00f3rico, es indiscutible y los ejemplos construidos se sostienen a m\u00e1s de tres cuartos de siglo de distancia, asunto que contrasta con las promociones de tiempos m\u00e1s recientes, nombres que ya se han olvidado y edificios destinados a ser simples vestigios de una memoria m\u00e1s o menos superada.<\/p>\n

No estoy en modo alguno buscando resucitar viejas cosas sino expresando una inconformidad activa respecto a la forma como ha ido orient\u00e1ndose el discurrir sobre arquitectura y la publicidad de los modos de actuar.<\/p>\n

Llamo la atenci\u00f3n sin embargo sobre dos cosas principales: por un lado la tendencia a enfocar la mirada exclusivamente al mundo de la opulencia (con crisis y sin crisis) y sus preferencias. Las arquitecturas que pudi\u00e9ramos llamar \u201csustitutivas\u201d de las del mundo del espect\u00e1culo, las que a tono con la crisis econ\u00f3mica ahora se quieren promover, terminan siendo siempre las que se \u201cescogen\u201d desde el mismo mundo opulento. Se extraen como con pinzas valores \u201cj\u00f3venes\u201d que se encuadran sin dificultades con las preocupaciones revisionistas en boga y se sigue estando lejos, muy lejos, de las realidades del ejercicio en las tres cuartas partes del mundo y sobre todo de los esfuerzos interesantes, llenos de sentido y sin duda valiosos para la escena arquitect\u00f3nica, de muchos arquitectos s\u00f3lo conocidos en sus propios medios. \u201cS\u00f3lo conocidos\u201d digo porque inevitablemente la opulencia conoce s\u00f3lo lo que se expresa dentro de la opulencia, lo que exige por supuesto el idioma ingl\u00e9s en primer lugar y estar en un pa\u00eds \u201cemergente\u201d tambi\u00e9n en primer lugar, siendo \u201cemergente\u201d uno que no tenga problemas pol\u00edticos calientes y decadentes sino que est\u00e9 integrado, ya, al intercambio fluido de una econom\u00eda globalizada.<\/p>\n

Y la segunda cosa que me interesa se\u00f1alar ata\u00f1e a quienes localmente ejercen la cr\u00edtica. Pocos, pero -es a eso a lo que quiero referirme- demasiado t\u00edmidos en cuanto a su capacidad para entender mejor el ambiente en el que se desenvuelve la pr\u00e1ctica de la arquitectura de las sociedades en las que viven. Parecen a veces en exceso interesados en plegarse a los modos de la opulencia, con lo cual terminan despreciando o desde\u00f1ando lo que \u201clos arquitectos\u201d (esos sujetos d\u00edscolos y siempre problem\u00e1ticos) de su propio medio hacen, consider\u00e1ndolos equivocados o desorientados porque no calzan en sus esquemas. Y cuando no es as\u00ed, entonces se desentienden, se sumergen por ejemplo en el mundo acad\u00e9mico y tratan de fijar su mirada en un pasado que generalmente ofrece menos problemas. Se dedican entonces a valorar lo ya valorado, los prestigios de los fallecidos que siempre ganan en consenso a los vivos, elogian a los fundadores, a los que en general son vistos con benevolencia y se abstienen cuidadosamente de se\u00f1alar nada preciso en direcci\u00f3n a quienes est\u00e1n como ellos luchando con un presente problem\u00e1tico, tratando de construir, languideciendo a veces sin contar con un apoyo que podr\u00eda abrir algunas puertas.<\/p>\n

Volver\u00e9 sobre este tema.<\/em><\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, Mayo 2013,
\nEntre lo Cierto y lo Verdadero<\/em>[:gl]<\/p>\n

Fago esforzos por seguir o prop\u00f3sito de afastarme un tanto do que acontece no meu pa\u00eds para rematar unha serie de comentarios que vi\u00f1era facendo sobre a cr\u00edtica. E falo de esforzo porque as \u00faltimas cousas que sa\u00edron \u00e1 luz, as cales os venezolanos xa co\u00f1eciamos e expo\u00f1en de modo m\u00e1is directo un panorama altamente corrompido, fan que apartalo da mirada conv\u00e9rtase nunha empresa moi dif\u00edcil. Fac\u00e9molo non obstante, non sen antes preguntarnos se \u00e9 cegueira total ou simplemente parvada, oportunismo ou medo de perder un cargo, o que fai que alg\u00fans altos funcionarios do R\u00e9xime, entre eles colegas que gozaron do Poder, sigan sostendo un proxecto pol\u00edtico mediocre e pervertido facendo un insensato esforzo para ocultar o inmenso amasillo de mediocridades, inconsecuencias, asalto aos fondos p\u00fablicos e desvergonza que o caracteriza.<\/p>\n

O vivido nestes \u00faltimos meses venezolanos interrompera os comentarios que lle dediquei \u00e1 cr\u00edtica e me quedaban por publicar uns apuntamentos dedicados ao inc\u00f3modo e con frecuencia funesto peso que a ideolox\u00eda como superestrutura exerce na visi\u00f3n cr\u00edtica da arquitectura, peso que tivo consecuencias no debate dos anos sesenta do s\u00e9culo pasado, cando en certos sectores marxistas se fixo o in\u00fatil esforzo de despoxar ao exercicio da arquitectura dos \u00abprexu\u00edzos art\u00edsticos\u00bb \u00e1 vez que se convert\u00eda aos aspectos t\u00e9cnicos vinculados \u00e1 concepci\u00f3n e produci\u00f3n do edificio na referencia fundamental para avaliar a pertinencia dunha arquitectura, do seu valor como resultado.<\/p>\n

\"\"<\/a>
Angelus Novus, grabado de Paul Klee, 31 x 24 cm., pintado en 1920 | oscartenreiro.com<\/span><\/figcaption><\/figure>\n

Eses apuntamentos non son sen\u00f3n iso, reflexi\u00f3ns curtas que non aspiran a outra cousa que situar os nosos puntos de vista acerca do exercicio cr\u00edtico. Non pretenden ser exhaustivos e menos a\u00ednda de rango acad\u00e9mico, pero fixan coa s\u00faa moderaci\u00f3n o ton xeral do que escribo aqu\u00ed, inspirado sobre todo por un desexo de comunicaci\u00f3n que quere ser de linguaxe accesible a todos, f\u00f3ra de pretensi\u00f3ns especializadas.<\/p>\n

Pero non \u00e9 s\u00f3 a cuesti\u00f3n ideol\u00f3xica sen\u00f3n o moi estendido intento de facer da cr\u00edtica algo as\u00ed como unha rama da filosof\u00eda, unha sorte de filosof\u00eda do ambiente edificado, o que considero tam\u00e9n un exercicio equ\u00edvoco que serviu nos tempos recentes para edificar prestigios arquitect\u00f3nicos sobre bases moi febles. T\u00e9mome que contribu\u00edu a iso a proliferaci\u00f3n de cursos de post-grao e doutorados sobre \u00abteor\u00eda da arquitectura\u00bb, modo de discorrer que quere ser un corpo de conceptos que fundamentan o exercicio da arquitectura, sen dar debida reflexi\u00f3n \u00e1 imposibilidade de elaborar teor\u00edas sobre actividades como a nosa, que se ben con importantes contidos t\u00e9cnicos, segue procesos baseados na intuici\u00f3n, no manexo de referencias provenientes dunha enorme diversidade de orixes (da memoria, da experiencia persoal, da capacidade de invenci\u00f3n, dos saltos de xenio moi localizados e espec\u00edficos pero eventualmente presentes, de asociaci\u00f3ns de imaxes) que se resiste ao razoamento e non encadran no mundo dos conceptos.<\/p>\n

A esa intenci\u00f3n de pensar a arquitectura chameina cr\u00edtica filosofante e estou persuadido, repito, de que serviu de fundamento para converter en figuras da arquitectura personalidades, e mesmo edificios, que pouca atenci\u00f3n ter\u00edan merecido en tempos menos atentos aos despregamentos \u00abilustrados\u00bb.<\/p>\n

En virtude dalgunhas das cousas que acabo de dicir e de moitas outras que expresei en textos que desexo publicar oportunamente, promov\u00edn a idea de ir cara a un modo de exercer a cr\u00edtica de arquitectura an\u00e1logo ao que ocupou lugar en tempos da primeira modernidade (ata a Segunda Guerra e un pouco despois) cando un pu\u00f1ado de pensadores de bastante calibre, non dependentes da industria editorial sen\u00f3n das s\u00faas propias convicci\u00f3ns e do seu prestixio intelectual, foron acompa\u00f1antes dos intentos de cambio dos arquitectos que buscaban erosionar o pensamento acad\u00e9mico e realizaban unha obra significativa no medio de innumerables dificultades. Eran tempos moi cargados coa controversia ideol\u00f3xico-pol\u00edtica, pero boa parte deses homes de pensamento, puideron manterse nun espazo intelectual m\u00e1is aut\u00f3nomo ata lograr promover unha arquitectura cuxa autenticidade en termos de valores est\u00e9ticos asociados \u00e1 resposta a problemas incitantes dese tempo hist\u00f3rico, \u00e9 indiscutible e os exemplos constru\u00eddos sost\u00e9\u00f1ense a m\u00e1is de tres cuartos de s\u00e9culo de distancia, asunto que contrasta coas promoci\u00f3ns de tempos m\u00e1is recentes, nomes que xa se esqueceron e edificios destinados a ser simples vestixios dunha memoria m\u00e1is ou menos superada.<\/p>\n

Non estou en modo ning\u00fan buscando resucitar vellas cousas sen\u00f3n expresando unha inconformidade activa respecto \u00e1 forma como foi orient\u00e1ndose discorrer sobre arquitectura e a publicidade dos modos de actuar.<\/p>\n

Chamo a atenci\u00f3n non obstante sobre d\u00faas cousas principais: por un lado a tendencia a enfocar a mirada exclusivamente ao mundo da opulencia (con crise e sen crise) e as s\u00faas preferencias. As arquitecturas que puid\u00e9semos chamar \u00absubstitutivas\u00bb das do mundo do espect\u00e1culo, as que a ton coa crise econ\u00f3mica agora se queren promover, rematan sendo sempre as que se \u00abescollen\u00bb dende o mesmo mundo opulento. Extr\u00e1ense como con pinzas valores \u00abnovos\u00bb que se encadran sen dificultades coas preocupaci\u00f3ns revisionistas en voga e se segue estando lonxe, moi lonxe, das realidades do exercicio nas tres cuartas partes do mundo e sobre todo dos esforzos interesantes, cheos de sentido e sen d\u00fabida valiosos para a escena arquitect\u00f3nica, de moitos arquitectos s\u00f3 co\u00f1ecidos nos seus propios medios. \u00abS\u00f3 co\u00f1ecidos\u00bb digo porque inevitablemente a opulencia co\u00f1ece s\u00f3 o que se expresa dentro da opulencia, o que esixe por suposto o idioma ingl\u00e9s en primeiro lugar e estar nun pa\u00eds \u00abemerxente\u00bb tam\u00e9n en primeiro lugar, sendo \u00abemerxente\u00bb un que non te\u00f1a problemas pol\u00edticos quentes e decadentes sen\u00f3n que estea integrado, xa, ao intercambio flu\u00eddo dunha econom\u00eda globalizada.<\/p>\n

E a segunda cousa que me interesa sinalar atinxe a quen localmente exercen a cr\u00edtica. Poucos, pero -\u00e9 a iso ao que quero referirme- demasiado t\u00edmidos en canto \u00e1 s\u00faa capacidade para entender mellor o ambiente no que se desenvolve a pr\u00e1ctica da arquitectura das sociedades nas que viven. Parecen \u00e1s veces en exceso interesados en pregarse aos modos da opulencia, co cal rematan desprezando ou desde\u00f1ando o que \u00abos arquitectos\u00bb (eses suxeitos d\u00edscolos e sempre problem\u00e1ticos) do seu propio medio fan, consider\u00e1ndoos equivocados ou desorientados porque non calzan nos seus esquemas. E cando non \u00e9 as\u00ed, ent\u00f3n se desentenden, se somerxen por exemplo no mundo acad\u00e9mico e tratan de fixar a s\u00faa mirada nun pasado que xeralmente ofrece menos problemas. Ded\u00edcanse ent\u00f3n a valorar o xa valorado, os prestigios dos falecidos que sempre ga\u00f1an en consenso aos vivos, eloxian aos fundadores, aos que en xeral son vistos con benevolencia e se abste\u00f1en coidadosamente de sinalar nada preciso en direcci\u00f3n aos que est\u00e1n como eles loitando cun presente problem\u00e1tico, tratando de constru\u00edr, languidecendo \u00e1s veces sen contar cun apoio que poder\u00eda abrir algunhas portas.<\/p>\n

Volverei sobre este tema.<\/em><\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, Maio 2013,
\nEntre lo Cierto y lo Verdadero<\/em>[:en]<\/p>\n

I do efforts for following the intention of moving away rather what happens in my country to finish a series of comments that it had come doing on the critique. And I speak about effort because the last things that have gone out to the light, which the Venezuelans already we knew and they expose in a more direct way a highly corrupt panorama, they do that to separate it of the look turns into a very difficult company. We make it nevertheless, not before wonder if it is a total blindness or simply bilge, opportunism or fear of losing a post, which does that some high civil servants of the Regime, between them colleagues who have enjoyed the Power, continue supporting a political mediocre and perverted project doing a senseless effort to conceal the immense dough of mediocrities, inconsistencies, assault to the public funds and shamelessness that characterizes it.<\/p>\n

And I speak about effort because the last things that have gone out to the light, which the Venezuelans already we knew and they expose in a more direct way a highly corrupt panorama, they do that The lived separate it of her in the latter Venezuelan months it had interrupted the comments that I him dedicated to the critique and I still had for publishing a few notes dedicated to the inconvinient one and often baneful weight that the ideology like superstructure exercises in the critical vision of the architecture, weight that had consequences in the debate of the sixties of last century, when in certain Marxist sectors there was done the useless effort to clear to the exercise of the architecture of the \u00bb artistic prejudices \u00bb simultaneously that was turning to the technical aspects linked to the conception and production of the building into the fundamental reference to evaluate the relevancy of an architecture, of his value as result.<\/p>\n

\"\"<\/a>
Angelus Novus, Paul Klee’s engraving, 31 x 24 cm., identical with 1920 | oscartenreiro.com<\/span><\/figcaption><\/figure>\n

These notes are not but it, short reflections that do not aspire to another thing that to place our points of view brings over of the critical exercise. They do not try to be exhaustive and less still of academic range, but they fix with his parsimony the general tone of what I write here, inspired especially by a desire of communication that wants to be from accessible language to all, out of specialized pretensions.<\/p>\n

But it is not only the ideological question but the very widespread attempt of doing of the critique something like branch of the philosophy, a luck of philosophy of the built-up environment, that I consider to be also an equivocal exercise that has served in the recent times to build architectural prestiges on very weak bases. I am afraid that he has contributed to it the proliferation of courses of post-degree and conferred a doctor’s degree on \u00bb theory of the architecture \u00ab, way of thinking up that it wants to be a body of concepts that base the exercise of the architecture, without giving due reflection to the inability to elaborate theories on activities as ours, that though with important technical contents, it follows processes based on the intuition, on the managing of references from an enormous diversity of origins \u00a0(of the memory, of the personal experience, of the capacity of invention, of the jumps of genius very located and specifics but eventually present, of associations of images) that resist to the reasoning and do not fit in the world of the concepts.<\/p>\n

To this intention of thinking the architecture I have been called her a critique filosofante and am persuaded, repeat, of that it has used as foundation to turn in figures of the architecture to personalities, and enclosedly buildings, which had deserved few attention in less attentive times to the \u00abillustrated\u00bb deployments.<\/p>\n

By virtue of some of the things that I have just said and of many others that I have expressed in texts that I want to publish opportunely, I have promoted the idea of going towards a way of exercising the critique of architecture analogous to the one that occupied place in times of the first modernity (up to the Second War and a bit later) when a thinkers’ handful of enough calibre, not salesmen of the publishing industry but of his own convictions and of his intellectual prestige, were accompanists of the attempts of change of the architects who were seeking to erode the academic thought and to realize a significant work in the middle of innumerable difficulties.\u00a0They were times very loaded with the ideological – political controversy, but good part of these men of thought, they could be kept in a more autonomous intellectual space up to managing to promote an architecture which genuineness in terms of aesthetic values associated with the response to pressing problems of this historical time, is indisputable and the constructed examples hold to more than three quarters of century of distance, matter that it contrasts with the promotions of the most recent times, names that already they have forgotten and buildings destined to be simple vestiges of a more or less overcome memory.<\/p>\n

I am not in any way seeking to revive old women sew but expressing an active dissent with regard to the form since it has gone being orientated to pass on architecture and the advertising of the manners of acting.<\/p>\n

I call the attention nevertheless on two principal things: on the one hand the trend to focus the look exclusively on the world of the opulence (with crisis and without crisis) and his preferences. The architectures that we could call \u00absubstitute\u00bb of those of the world of the spectacle, which to tone with the economic crisis now want to be promoted, end up by being always those who \u00abare\u00bb \u00abchosen\u00bb from the same opulent world. There are extracted like by tweezers \u00abyoung\u00bb values that are fitted without difficulties by the revisionist worries in vogue and one continues being far, very far, of the realities of the exercise in the fourth three parts of the world and especially of the interesting efforts, full of sense and undoubtedly valuable for the architectural scene, of many architects only known in his own means. \u00bb Only known \u00bb I say because inevitably the opulence knows only what expresses to itself inside the opulence, which demands certainly the language Englishman first and to be in a \u00abemergent\u00bb country also first, being \u00abemergent\u00bb one that does not have political warm and decadent problems but it is integrated, already, to the fluid exchange of an included economy.<\/p>\n

And the second thing that I am interested in indicating concerns those who locally exercise the critique. Few ones, but – it is to it to what I want referirme – too shy as for his aptitude to understand better the environment in the one that unrolls the practice of the architecture of the companies in which they live. Interested parties seem sometimes in excess in bending to the manners of the opulence, with which they end up by despising or disdaining what \u00bb the architects \u00bb (these uncontrollable subjects and always problematic) of his own way do, considering them wrong or disoriented because they do not wear shoes in his schemes. And when it is not like that, at the time they affect ignorance, submerge for example in the academic world and try to fix his look in a past that generally offers fewer problems. They devote themselves then to value the already valued, the prestiges of the deceased who always win in consensus the alive ones, praise the founders, which in general are seen by benevolence and abstain from indicating carefully nothing precise towards whom they are as them fighting against a problematic present, trying to construct, languishing sometimes without relying on a support that it might open some doors.<\/p>\n

I will return on this topic.<\/em><\/p>\n

\u00d3scar Tenreiro Degwitz, Architect
\nVenezuela, May 2013,
\nEntre lo Cierto y lo Verdadero<\/em>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Hago esfuerzos por seguir el prop\u00f3sito de alejarme un tanto de lo que acontece en mi pa\u00eds para terminar una serie de comentarios que hab\u00eda venido haciendo sobre la cr\u00edtica. Y hablo de esfuerzo porque las \u00faltimas cosas que han salido a la luz, las cuales los venezolanos ya conoc\u00edamos y exponen de modo […]<\/p>\n","protected":false},"author":35,"featured_media":31841,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12448,143,9142,12449,393,580,6957,11762,7335,1021,1103,1865,1278,2048],"class_list":["post-31839","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura","tag-arquitectura-contemporanea","tag-arquitectura-venezolana","tag-arte","tag-critica","tag-filosofia","tag-ideologia","tag-oscar-tenreiro-degwitz","tag-paul-klee","tag-pensamiento","tag-profesion","tag-reflexion","tag-teoria","tag-teoria-e-historia"],"yoast_head":"\nCr\u00edtica e ideolog\u00eda | \u00d3scar Tenreiro Degwitz<\/title>\n<meta name=\"description\" content=\"Cr\u00edtica e 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