An&oacute;nimo pretende volver la mirada al valor de la obra, m&aacute;s all&aacute; de su autor.&iquest;Qu&eacute; pesa m&aacute;s, el artista o la pieza de arte? &iquest;Qu&eacute; es lo que le otorga su verdadero valor a una obra, su est&eacute;tica y su originalidad o la mente creativa y firma que hay detr&aacute;s? Ernst Gombrich concluy&oacute; en su momento, hace m&aacute;s de 50 a&ntilde;os, su famosa m&aacute;xima: &ldquo;No hay arte, sino artistas&rdquo;. Hoy, con la modernidad, el valor comercial de las obras y la inversi&oacute;n que representan, la premisa camina sobre una l&iacute;nea delgada. En 2017, en una especie de reflexi&oacute;n l&uacute;dica precisamente en torno a estos temas &ndash;o con ellos en el subsuelo&ndash; lleg&oacute; el OROXXO. En su pol&eacute;mica exhibici&oacute;n, el reconocido artista mexicano Gabriel Orozco present&oacute; su Oxxo dentro de la galer&iacute;a Kurimanzutto, donde una bolsa de Sabritas o una lata de Pepsi intervenidas lograron precios exorbitantes, mismos que el consumidor le otorg&oacute; a trav&eacute;s de un tabulador. La muestra, como la obra en s&iacute;, buscaba el di&aacute;logo y la reflexi&oacute;n sobre el consumismo en el arte, cuando la obra se convierte en un producto de consumo m&aacute;s y el artista, en manufactura.Casi como una extrapolaci&oacute;n de estas reflexiones nace An&oacute;nimo, fundado por Alejandra Mart&iacute;nez, que busca volver al origen del arte y dotar la obra del valor que tiene intr&iacute;nsecamente. As&iacute;, cada pieza es subastada de manera an&oacute;nima, logrando finalmente un precio tan alto, o tan bajo, como deseo haya generado entre los asistentes, sin develar su autor hasta haberse finalizado la puja.<img src="https://magarticles.magzter.com/articles/4945/347113/5d35b5f550b07/1563801018_loc.jpg"" owidth=531 oheight=941" style="height:797px; width:450px" />FUERZA TEXTIL. Arriba, las obras de Mario Navarro y Olivia Steele. Derecha, pieza de Marco Querin.Este a&ntilde;o, la subasta se llev&oacute; a cabo en la capital de Oaxaca, donde las piezas de 21 artistas se expusieron en La Calera, una antigua f&aacute;brica de cal en desuso convertida en centro cultural. Ciudad y espacio perfecto para hablar sobre la tem&aacute;tica que funcion&oacute; como hilo conductor: los textiles.M&aacute;s de 350 personas asistieron al evento, en el marco del Mezcal Amores Experience, donde se recaudaron m&aacute;s de 90,000 d&oacute;lares, destinados a apoyar los esfuerzos de don Remigio Mestas, quien busca rescatar y preservar la tradici&oacute;n textil oaxaque&ntilde;a.De los 25 lotes expuestos, piezas susurraban el nombre de su autor, mientras que otras parec&iacute;an esconderlo. Y es que, a pesar de &ldquo;borrar&rdquo; el nombre del artista, &iquest;qu&eacute; tanto de &eacute;l y su ADN siempre queda en la obra, como una impronta indeleble? Porque, finalmente, y a pesar de ejercicios sobre el valor, se mantiene vigente que no hay arte, hay artistas.

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{{magzter}} is the World's largest and fastest growing self-service, cross-platform digital newsstand with over 87 million users since its inception in 2011 and thousands of magazines and newspapers across 40+ categories and 60+ languages. Headquartered in New York, Magzter has its local presence in Amsterdam, London, Mexico City, Chennai, Mumbai, New Delhi, Bengaluru, Singapore, and will soon be expanding to other countries. Founded by global entrepreneurs, Girish Ramdas and Vijay Radhakrishnan in June 2011, Magzter enables magazine and newspaper publishers around the world to create and deliver digital editions of their titles to global consumers.