Javier Milei's victory in the November 19, 2023 election signals a departure from the century-long dominance of Peronism. As Milei implements radical changes, including creating the Ministry of Human Capital and a significant reduction in government departments, the artistic community braces for impact.

Milei's opposition to artistic freedom of expression raises concerns within this dynamic ecosystem, where creativity has flourished despite economic challenges. Daniela Gutierrez, Director of Fundación Medifé, acknowledges the daunting task ahead, emphasising the need for private support amidst extreme government restrictions. The sweeping changes, anticipated during Milei's campaign, threaten the existence of fundamental arts institutions.

As Argentina navigates uncharted political waters, the resilient art community remains cautiously optimistic about its ability to weather the storm. The juxtaposition of political uncertainty and artistic determination paints a complex portrait of a nation in flux, where the future of cultural expression hangs in the balance.

Today, right-wing policies and leaders are recognised as widely accepted components of the political spectrum. Some countries have embraced this political approach since their inception. Globalisation, as the truth of our modern world, usually aims to further strengthen the expansion of the economy and private property, generally favouring socially conservative ideas. In simpler terms, this tends towards monotypic socio-cultural policies, which oppose a wide range of culturally liberal social movements. These include the civil rights movement, feminist movement, LGBTQ+ rights movement, abortion-rights movement, multiculturalism, anti-war movement, and environmental movement. While this characterisation may sound bold, right-wing policies generally encapsulate these fundamentals. Argentina, a country formerly governed by Perronism and associated ideologies, is getting swept up in the wind of far-right policies following its recent election of Javier Milei. 

The nation faces significant economic challenges, with inflation exceeding 140 per cent, 40 per cent of the population living in poverty, and Buenos Aires as the country's second-largest economy, confronting an imminent recession and widespread dissatisfaction with the existing situation. The conditions also extend to the country’s cultural sector, where the impact of these challenges is inescapable.

Argentina is known for its natural beauty, diverse climates, and a rich tapestry of history and culture. However, these potent dynamics, like generous natural resources and valuables like gold mines, became a curse during the colonial period, bringing suffering to the inhabitants. Argentina's artistic heritage originates from pre-Columbian murals at Cueva de las Manos (7,300 BC and 700 AD) and colonial-era religious paintings influenced by Spanish art (between the 17^th and 18^th centuries). This rich history incorporates contributions from indigenous artists and African slaves. The literary realm also reflects this diverse heritage, as seen in the works of German Jesuit Florian Paucke. Avant-garde movements like the Florida Group, The Boedo, and La Boca Group further shaped Argentina's art scene, introducing various styles and influences, from Sensitive Painters to Neo-realists.

The 20^th century transformation of Argentina's art landscape includes importing European influences by artists like Emilio Petorutti and Xul Solar. Post the Second World War, the Tucuman Muralists School, led by Enes Lino Spilimbergo and Guido Parpagnoli, rejected individualism for a collective vision, fostering vibrant artistic growth in the 1960s. This era witnessed experimentation with various forms, influenced by science and technology, with groundbreaking works such as the La Menesunda installation in 1965. As Argentina entered the 2000s with economic and political instability, the artistic community of Buenos Aires, known as Porteños, responded by infusing vibrancy into the urban landscape, creating murals and street art that reflected both dissent with the government and a revival of freedom of expression, symbolising resilience amidst challenging times. 

This narrative highlights the interplay between art, politics, and cultural identity throughout Argentina's historical journey. “In our country—and I believe this is a common feature throughout Latin America—there have historically been cyclical behaviours in our modern political history. This generates a capacity for resilience and adaptation, almost survival, I would say, of the whole society in the face of the different changes in social and economic policies, no matter how drastic they may be,” explains Federico Curutchet, Director of W-galería. "The art system is no stranger to this and we are confident that we are mature enough and culturally prepared to adapt to any circumstance thanks to a very solid network of professionals, public and private institutions, artists and cultural spaces that we have.”

Today, Buenos Aires, renowned for its cultural richness with numerous centres like Centro Cultural Kirchner and top-tier museums such as the Museo de Arte Latinoamericano, the Xul Solar Museum, and the Museo Moderno, also boasts prestigious private foundations like the Fundación Medife, Fundación PROA, and Fundación Tres Pinos, along with various commercial galleries and art spaces like W-galería, Rolf Art, and LA NAVE. “Buenos Aires is the city that never sleeps. It is the city that makes itself heard. We have a wonderful art scene and hope the world can get to know it,” says Curuchet.

However, a significant political upheaval is set to impact this vibrant art ecosystem following the November 19, 2023, run-off election. Far-right outsider Javier Milei secured almost 56 per cent of the vote, opposing the ruling coalition candidate Sergio Massa, who pledged to dismantle institutions, including the Ministry of Culture, to combat corruption and control inflation. Milei adopted a campaign slogan inspired by Shakespeare's Romeo and Juliet: “Plague on both your houses”.  This phrase, expressing impartiality in a family feud, implies a refusal to take sides and holds both running parties responsible. Over the past seven decades in Argentina, there has been an ongoing ideological struggle between Peronism, which follows Juan Perón's populist and nationalist policies implemented during his presidencies from 1946 to 1955 and 1973 to 1974, and the left, centre, and right-wing factions of the ideological spectrum. Peronism has consistently asserted dominance over its economic, political and ideological counterparts. 

”The country is taking its initial steps towards a profound transformation after a century of Peronism. The challenge is monumental, and the hope for genuine change is robust, but we also recognise that the cost will be very high, and numerous factors will impact the outcome. We believe that much now hinges on the coalition's strength, the presence of unity to facilitate the completion of changes, and the people's resistance to bear the cost of the transformation. In the artistic scene, this has a direct impact. Undoubtedly, the art market is impeded, being considered a non-essential need. Coupled with the state's restrictions on programmes supporting the sector, it will significantly complicate matters for those making a living from this field. We are witnessing a change and, consequently, a crisis. However, 'Crisis,' in Latin, means 'Opportunity,’” said Florencia Giordana Braun, Founder and Director of Rolf Art.

Milei asserts that he intends to embrace a distinctive and innovative strategy, breaking away from the patterns that have characterised Argentina's tumultuous history. Given Milei’s Freedom Advances Political Party’s opposition to artistic freedom of expression, the expected shift has generated speculation within this vibrant ecosystem, signalling an impending transformation likely to impact the art scene profoundly. Milei’s initial action was the creation of a new department named the Ministry of Human Capital. The libertarian president implemented a measure to reduce the cabinet's 18 departments to nine, demonstrating a stringent approach to minimise public spending. This newly established department will assume previously dedicated responsibilities solely to culture, education, labour and social development. Additionally, various ministries were eliminated, including tourism and sports, environment and sustainable development, transportation, public works, territorial development and habitat.

Gutierrez elaborates, “The Argentinean cultural scene faces a significant challenge in the coming years: to overcome the economic difficulties and restrictions imposed by the adjustment plan of the new government (and therefore of the new Minister of Culture). The panorama is complicated, but all artists' organisations, universities, galleries and museums have much experience dealing with this cyclical crisis in Argentina. I think this is when the private sector, people and companies that value cultural investment will have to make the most outstanding effort and we are ready for this. However, these will be challenging years for art and culture. The restrictions imposed by Milei's government on our field are extreme, and there is already a lot of resistance.”

These radical decisions were integral to Milei's election campaign and were anticipated. Independent cultural manager Gachi Prieto, who has worked for more than 20 years in Buenos Aires and lately as Director of the National Endowment for the Arts of Argentina, portrayed the current situation, “Many fundamental arts institutions such as the above-mentioned, the National Institute for the Theatre, the popular Libraries Council, the National Institute for the Film Industry or the renowned CONICET (The National Scientific and Technical Research Council of Argentina), just to name a few, are at the stake of either being closed or refinanced beyond reason. Even now, governmental funds are not sufficient for Argentina’s cultural politics. From now on it appears we will face total darkness and abandonment. Even though artists and producers will always resist and keep creating, the general feeling in our arts communities is of disbelief.”

It would be challenging now to predict the effects of the Ministry of Human Capital on the art and culture ecosystem. What is clear is that those in the industry, although pessimistic about the government, are optimistic about their resilience. Their resolve has been shaped by the experience of years of turbulent governance. 

(Disclaimer: The views and opinions expressed here are those of the author(s) and do not necessarily reflect the official position of STIR or its Editors.)