Pepe Valladares has presided over the Círculo de Bellas Artes de Tenerife three times, once unexpectedly and twice after being elected by majority. The graphic designer is well-acquainted with the intricacies of Tenerife’s culture. After 17 years associated with the circle, he is able to detail its strengths and weaknesses. Thus, he presented his candidacy for the presidency with an ambitious plan to completely renew the artistic institution, which has actually been closed for seven years.
On 7th September, the Círculo de Bellas Artes de Tenerife marks its centenary, albeit with the building still under construction. Nevertheless, the celebration of the centenary will take place on 11th September, initiating activities in those areas where it is possible, featuring an exhibition of contemporary artists that will run until August and will serve as the declaration of intent for a new phase under Valladares.
Current Situation of the Círculo Building
Question: What is the current state of the Círculo de Bellas Artes building ahead of the centenary?
Answer: The circle is still in operation, undergoing modifications and there are pending works. The façade will not be completed in time. However, this week it was announced that funding for the theatre is secure, as both the Santa Cruz City Council and the Cabildo of Tenerife are interested, given the lack of performance spaces. The reality is that there will continue to be construction this year; this is the natural state of such a space.
Centenary Content Plans
What content proposals are there for the centenary?
We have been fortunate to have Octavio Zaya join us after returning from North America. He is the most prominent curator in the Canaries and has curated significant biennials worldwide for many years. One of my long-standing objectives was to incorporate him into the circle, and we have commissioned him for an important project, highlighting the landscape of contemporary art in the Canaries. This will take place from 18th September until August.
So, the activities will focus exclusively on the plastic arts.
Yes, because we did not have the theatre in mind as we did not see the possibility of staging performances. It frustrates me a little because the circle’s origins were more aligned with theatre and literature; the plastic arts were introduced later, but that’s just how it is. For me, literature and poetry are fundamental, along with critical thought, which is the new approach for the circle, and the aspect that interests me most. The circle is currently in a phase of absolute renewal. What matters now is the exhibition aspect, where we have gathered the 30 most recognised contemporary artists, and they all agreed immediately. Previously, all those artists distanced themselves from the circle because they viewed it as outdated; I knew this because I had spent years conversing with them.
This conversation takes place in the circle’s café, which is still not operational. Photos of renowned individuals associated with the institution adorn the walls, while the sounds of construction in preparation for the centenary resonate in the background. The conversation naturally veers towards a contentious topic.
Position on Franco Monument as Cultural Heritage
The circle opposed the declaration of the Franco monument as a Cultural Heritage site; was there reluctance among the members?
No, probably if there was dissent among the members, they did not express it. The decision was unanimous at the board meeting; indeed, the report was drafted by Celestino Celso, who was the right person for the job. The objective basis was the historical memory law and the report from the University of La Laguna regarding the monument’s null historical value. We aligned ourselves with the university’s perspective and the historical memory law. Once the notice was released, everyone contacted us, reflecting that the circle still holds a respected name, although it lost its standing over the past few decades, as many distanced themselves. Now we wish to look forward.
“I Am Very Tired of Requesting Funding”
Returning to the matter of the building, when is it expected to be fully operational?
There will always be things to do. We still need to install the air conditioning, the café… The situation is that I am very tired of requesting funding. Our understanding of public money differs significantly from previous administrations. We feel uncomfortable using public funds. This money comes from individuals working in supermarkets with low salaries, yet politicians often behave as though they are the ones granting the money. We expect to have surplus funds from the initial construction grant, which we intend to return.
Has there been a good willingness from the authorities to cover the costs of upgrading the building?
Yes. I don’t like to judge things. They are interested in the circle functioning. There has been good cooperation, especially from the city council, which, except for theatre funding, has contributed the most financially. There has been natural development, which has encouraged many individuals and institutions to return, and they are continually joining. This demonstrates that we are on the right path.
What philosophy have you upheld that has led to the return of members or support from foundations such as Cajacanarias?
Opening the debate at the circle, integrating contemporary art, and positioning ourselves as a contemporary circle. The historical aspect exists, but the circle should not bear that responsibility; although it may have had it in the past due to specific circumstances. We see ourselves as heirs of (Domingo) Pérez Minik and (Eduardo) Westerdahl, adopting their avant-garde lineage, alongside the women who were often sidelined in the boards. The avant-garde theme greatly appealed to the foundation. Gathering all (the contemporary artists), around 30 in total, orchestrated by Zaya, acts as a statement of principles. From now on, we also wish to host fewer exhibitions, but the quality will be high on an international level. We aim to introduce international works from Africa, North America, South America, and Europe, and if possible, projects that have never been seen before even in Spain. That is our objective.
“We See Ourselves as Heirs of Pérez Minik and Westerdahl”
This vision may also provoke rejection among Canarian artists who feel unsupported in exhibiting.
Sometimes local artists can be quite complacent, used to having everything done for them. In contrast, if I invite an artist from New York, they will arrive with a suitcase, find cheap accommodation, and work from eight in the morning until eight at night. That’s the reality; there will be viewpoints that some will appreciate and others will not. There are new spaces, like the fourth floor, where exhibitions can also take place. Canarian artists will also be featured, but they must present new, unseen projects with a curator supporting them to demonstrate interest. We have advised individuals that without a curator, project, and comprehensive setup, they should not submit anything. We need to encourage people to step up.
The circle now aims to increase self-financing and raise membership fees. What plans do you have?
A circle aspiring to achieve its goals cannot charge its members only six euros. If people do not have that minimal commitment, they cannot remain part of the circle, quite simply. The solution may be to create a “friend of the circle” status, similar to that of the Madrid circle. This would allow an individual who does not have voting rights but would still receive discounts and priority information, contributing a minimal amount, perhaps three euros. They would also have preference in becoming a member. We will also introduce annual fees. My proposal is not a significant increase, just 10 euros per month or 100 euros annually. After the centenary, I want to reach 500 members.
How many members are there currently?
We are close to 300. There have also been some departures, as individuals leave if they’re not interested in the project. However, that is an objective that always persists.
