The cultural management of Valencia City Council has sparked an intense debate regarding its approach to contemporary art. While other cities like Lisbon and Porto promote clear support policies, in the Valencian capital there is a perceived absence of strategic plans and scarce activity in this area.
Critics point out that the city council maintains initiatives such as the Velázquez Grant, the Senyera Visual Arts Award, and some recognition for young artists, in addition to a discreet presence in the Consorci de Museus de la Comunitat Valenciana. However, this effort is considered insufficient, and there is no continuous institutional structure or infrastructure for contemporary art.
The cultural policy supporting contemporary art in this city makes no sense because there is neither activity, nor a strategic plan, nor a project.
The municipal leadership's proposals, such as the creation of three new museums (the Museum of the Sea, the Interpretation Center of the Holy Chalice, and the Manolo Valdés Space), are seen as a commitment to a more monumental or thematic art, distant from contemporary creation and the rigorous concept of public art. The presence of Manolo Valdés's sculpture, known as the «monolith/manolito», and the sculptures of Mortadelo and Filemón, are examples of this trend.
Historically, the relationship between art and power has been complex, often instrumentalized for political, identity, or tourist purposes. Art, in its essence, should be an end in itself and a tool for understanding the world, not an affirmation of power or a decorative object. There is a call for greater dialogue with creators and a lasting cultural project that strengthens the city's creative fabric, with political consensus and support for artistic forms less integrated into the market.
