Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27384
Celia Martín Larumbe, Roberto Peña León
El actual contexto de cambio social esta afectando al sector de la Cultura y, de manera especifica, al sistema del arte. Dentro del mismo, la institucion «museo» se ha visto afectada de una manera especial por este escenario de transformacion. Los debates en el sector (ICOM, OME) permiten introducir propuestas diversas para abordar este escenario. Aparecen asi nuevos planteamientos y lineas de abordaje, presentandose la perspectiva de genero como la mas potente y adecuada para ello. En este articulo se presentan el conjunto de acciones llevadas a cabo en la Comunidad Foral de Navarra desde el aparato institucional en los ultimos anos, amparados por una legislacion disenada en este sentido y que ya ha empezado a dar resultados, abriendo caminos que prometen ser muy interesantes: reflexion autocritica, remodelacion de la exposicion permanente, exposiciones temporales de nuevo cuno, visitas guiadas, etc. La actual situacion requiere sistematizar estos medios y procedimientos y mantener la direccion usando las sinergias generadas y apoyandose en las reflexiones ya elaboradas con exito. Abstract The current context of social change is affecting the world of Culture, and specifically the Art system. Within this area the «museum» as an institution has been deeply affected by this transformation scenario. The discussions in this sector (ICOM, OME) allow us to introduce diverse suggestions to deal with this issue. This is how new proposals and approaches have appeared, being the gender perspective the most powerful and accurate tool to achieve that. In this article we present a number of actions carried out in the CFN by the local Administration in the last few years, supported by some laws designed in this direction; actions that have already yielded good results, opening up new paths that can be very interesting: self-criticism reflection, reorganization of the permanent exhibition, temporary exhibitions with a new perspective, guided visits, etc. The present situation demands to structure these tools and procedures, in order to maintain this course of action, using the generated synergies and relying on the successful reflections already accomplished.
{"title":"Política cultural institucional como medio de transformación. La experiencia en la Comunidad Foral de Navarra = Institutional Cultural Politics as a Means of transformation. An experience in the Comunidad Foral de Navarra","authors":"Celia Martín Larumbe, Roberto Peña León","doi":"10.5944/etfvii.8.2020.27384","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27384","url":null,"abstract":"El actual contexto de cambio social esta afectando al sector de la Cultura y, de manera especifica, al sistema del arte. Dentro del mismo, la institucion «museo» se ha visto afectada de una manera especial por este escenario de transformacion. Los debates en el sector (ICOM, OME) permiten introducir propuestas diversas para abordar este escenario. Aparecen asi nuevos planteamientos y lineas de abordaje, presentandose la perspectiva de genero como la mas potente y adecuada para ello. En este articulo se presentan el conjunto de acciones llevadas a cabo en la Comunidad Foral de Navarra desde el aparato institucional en los ultimos anos, amparados por una legislacion disenada en este sentido y que ya ha empezado a dar resultados, abriendo caminos que prometen ser muy interesantes: reflexion autocritica, remodelacion de la exposicion permanente, exposiciones temporales de nuevo cuno, visitas guiadas, etc. La actual situacion requiere sistematizar estos medios y procedimientos y mantener la direccion usando las sinergias generadas y apoyandose en las reflexiones ya elaboradas con exito. Abstract The current context of social change is affecting the world of Culture, and specifically the Art system. Within this area the «museum» as an institution has been deeply affected by this transformation scenario. The discussions in this sector (ICOM, OME) allow us to introduce diverse suggestions to deal with this issue. This is how new proposals and approaches have appeared, being the gender perspective the most powerful and accurate tool to achieve that. In this article we present a number of actions carried out in the CFN by the local Administration in the last few years, supported by some laws designed in this direction; actions that have already yielded good results, opening up new paths that can be very interesting: self-criticism reflection, reorganization of the permanent exhibition, temporary exhibitions with a new perspective, guided visits, etc. The present situation demands to structure these tools and procedures, in order to maintain this course of action, using the generated synergies and relying on the successful reflections already accomplished.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48457131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27408
Giuliana Moyano-Chiang
La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la coleccion de arte moderno del Centro Pompidou de Paris y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no esta expuesta al publico. Este articulo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revision de la iconografia representada a partir de la significacion de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artistica del Peru, su adhesion a la estetica indigenista le permitio crear obras que alteraron los canones academicistas, explorando nuevas formas de expresion. Mediante estas nuevas maneras de representacion restituyo la presencia de las mujeres y su diversidad etnica y cultural en la historia del arte del Peru. Abstract The work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.
{"title":"«Indias Huancas» de Julia Codesido = «Indias Huancas» by Julia Codesido","authors":"Giuliana Moyano-Chiang","doi":"10.5944/etfvii.8.2020.27408","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27408","url":null,"abstract":"La obra Indias Huancas de Julia Codesido (1883-1979) forma parte de la coleccion de arte moderno del Centro Pompidou de Paris y es una obra que, al igual que muchas obras de artistas mujeres, actualmente no esta expuesta al publico. Este articulo analiza el trabajo de Codesido desde la perspectiva feminista y decolonial. Al mismo tiempo, la relectura de su obra propone una revision de la iconografia representada a partir de la significacion de sus elementos. Codesido fue una artista comprometida con las ideas de la vanguardia artistica del Peru, su adhesion a la estetica indigenista le permitio crear obras que alteraron los canones academicistas, explorando nuevas formas de expresion. Mediante estas nuevas maneras de representacion restituyo la presencia de las mujeres y su diversidad etnica y cultural en la historia del arte del Peru. Abstract The work Indias Huancas by Julia Codesido (1883-1979) is part of the modern art collection of the Center Pompidou in Paris and is a work that, like many works by female artists, is currently not on public view. This article analyzes Codesido’s work from a feminist and decolonial perspective. At the same time, the re-reading of her work proposes a revision of the iconography represented from the significance of its elements. Codesido was an artist committed to the ideas of the artistic avant-garde of Peru, her adherence to the Indigenist aesthetics allowed her to create works that altered academic canons, exploring new forms of expression. Through these new forms of representation, she restored the presence of women and their ethnic and cultural diversity in the history of Peruvian art.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48358666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27452
J. Carrillo, Miguel Vega Manrique
Este texto expone reflexiones y analisis derivados de la experiencia de dos personas que han estado implicadas en la ideacion e implementacion a traves de practicas concretas de los enunciados feministas en el Museo Reina Sofia. La primera parte aborda las maneras en que el Museo ha ido modulando su potencial como institucion feminista durante el primer periodo bajo la direccion de Manuel Borja-Villel (2008-2015). En la segunda parte, se abordan las posibilidades y limitaciones de actualizar dicho potencial a partir de la practica y teoria de la mediacion cultural. Partimos de su inicial marginalidad y precariedad, hasta proponer una mas reciente capacidad de experimentacion para albergar y transformar cuerpos, espacios, experiencias, discursividades... Abstract This text comprises some reflections and analysis deriving from the experience of two individuals who were directly engaged in the conception and implementation of the feminist aims of Reina Sofia Museum. The first part focuses on the different ways the Museum modulated its potential as a feminist institution during the first years of the mandate of Manuel Borja-Villel (2008-2015). The second part deals with the possibilities and limitations involved in the actualization of such a potential in the practice and theory of cultural mediation. Starting from a situation of marginality and precariousness, this analysis moves towards the more recent attempt at experimenting with both the presence and the transformation of bodies, spaces, experiences and discourses.
{"title":"\"¿Qué es un museo feminista?\" Desacuerdos, negociación y mediación cultural en el Museo Reina Sofía = «What Is a Feminist Museum?» Disagreements, Negotiation and Cultural Mediation at the Reina Sofía Museum","authors":"J. Carrillo, Miguel Vega Manrique","doi":"10.5944/etfvii.8.2020.27452","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27452","url":null,"abstract":"Este texto expone reflexiones y analisis derivados de la experiencia de dos personas que han estado implicadas en la ideacion e implementacion a traves de practicas concretas de los enunciados feministas en el Museo Reina Sofia. La primera parte aborda las maneras en que el Museo ha ido modulando su potencial como institucion feminista durante el primer periodo bajo la direccion de Manuel Borja-Villel (2008-2015). En la segunda parte, se abordan las posibilidades y limitaciones de actualizar dicho potencial a partir de la practica y teoria de la mediacion cultural. Partimos de su inicial marginalidad y precariedad, hasta proponer una mas reciente capacidad de experimentacion para albergar y transformar cuerpos, espacios, experiencias, discursividades... Abstract This text comprises some reflections and analysis deriving from the experience of two individuals who were directly engaged in the conception and implementation of the feminist aims of Reina Sofia Museum. The first part focuses on the different ways the Museum modulated its potential as a feminist institution during the first years of the mandate of Manuel Borja-Villel (2008-2015). The second part deals with the possibilities and limitations involved in the actualization of such a potential in the practice and theory of cultural mediation. Starting from a situation of marginality and precariousness, this analysis moves towards the more recent attempt at experimenting with both the presence and the transformation of bodies, spaces, experiences and discourses.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42074717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.26761
Manuel Antonio Díaz Gito
Trabajo realizado en el marco del Proyecto del Plan Nacional de I+D PGC2018-094604-B-C31 (MCIU/AEI/ FEDER, UE), y del Proyecto de «Red de Excelencia» FFI2017-90831-REDT.
在国家研发计划pgc2018 - 94604- b - c31 (MCIU/AEI/ FEDER, eu)和“卓越网络”项目FFI2017-90831-REDT框架内开展的工作。
{"title":"Escrito en el lienzo: Ovidio y el Billete de Amor en La Enferma de Amor de Jan Steen, pintor holandés del Siglo de Oro","authors":"Manuel Antonio Díaz Gito","doi":"10.5944/etfvii.8.2020.26761","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.26761","url":null,"abstract":"Trabajo realizado en el marco del Proyecto del Plan Nacional de I+D PGC2018-094604-B-C31 (MCIU/AEI/ \u0000FEDER, UE), y del Proyecto de «Red de Excelencia» FFI2017-90831-REDT.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43700564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27114
Encarna Montero Tortajada
Resena de: Ferrer del Rio, Estefania, Rodrigo de Mendoza. Noble y coleccionista del Renacimiento. Madrid, Silex Ediciones, 2020, 202 pp. ISBN: 978-84-7737-583-8.
Resena de:Ferrer del Rio，Estefania，Rodrigo de Mendoza。贵族和文艺复兴收藏家。马德里，Silex Ediciones，2020年，202页。ISBN:978-84-7737-583-8。
{"title":"Reseña de: Ferrer del Río, Estefania, Rodrigo de Mendoza. Noble y coleccionista del Renacimiento","authors":"Encarna Montero Tortajada","doi":"10.5944/etfvii.8.2020.27114","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27114","url":null,"abstract":"Resena de: Ferrer del Rio, Estefania, Rodrigo de Mendoza. Noble y coleccionista del Renacimiento. Madrid, Silex Ediciones, 2020, 202 pp. ISBN: 978-84-7737-583-8.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44420487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27422
Clara Solbes Borja, María Roca Cabrera
This paper analyses as a case study the project «Relecturas. Itinerarios museales en clave de género». It was conceived in 2017 under the coordination of University of València, to coproduce with museums in the València metropolitan area, gendered interpretative pathways and rereadings of the collections through the lens of gender or feminism. This study presents some antecedents of the project, as well as its contextualization at a moment apparently promoting to the gradual entry of women into museums. This implies the different objectives and working methodologies developed by the team project, as well as the future challenges that should face this 1. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València con un contrato de Formación del Profesorado Universitario del Ministerio de Ciencia, Innovación e Universidades (convocatoria de 2016). C. e.: clara.solbes@uv.es 2. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València y del proyecto «SILKNOW. Silk heritage in the Knowledge Society: from punched cards to big data, deep learning and visual/tangible simulations» financiado por el programa de investigación e innovación de la Unión Europea Horizonte 2020 (no 769504). C. e.: maria.roca@uv.es
{"title":"Redes museales en clave feminista. El caso \"Relecturas\" = Museum Networks from a Feminist Perspective. The case of «Relecturas»","authors":"Clara Solbes Borja, María Roca Cabrera","doi":"10.5944/etfvii.8.2020.27422","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27422","url":null,"abstract":"This paper analyses as a case study the project «Relecturas. Itinerarios museales en clave de género». It was conceived in 2017 under the coordination of University of València, to coproduce with museums in the València metropolitan area, gendered interpretative pathways and rereadings of the collections through the lens of gender or feminism. This study presents some antecedents of the project, as well as its contextualization at a moment apparently promoting to the gradual entry of women into museums. This implies the different objectives and working methodologies developed by the team project, as well as the future challenges that should face this 1. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València con un contrato de Formación del Profesorado Universitario del Ministerio de Ciencia, Innovación e Universidades (convocatoria de 2016). C. e.: clara.solbes@uv.es 2. Universitat de València, miembro del grupo de investigación VALuART de la Universitat de València y del proyecto «SILKNOW. Silk heritage in the Knowledge Society: from punched cards to big data, deep learning and visual/tangible simulations» financiado por el programa de investigación e innovación de la Unión Europea Horizonte 2020 (no 769504). C. e.: maria.roca@uv.es","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43100326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.26713
Inmaculada Real López
Este articulo analiza la recuperacion de las mujeres artistas e intelectuales de la diaspora desde el marco museistico, la construccion de sus identidades y su incorporacion a los discursos expositivos. El estudio se centra en un tipo de institucion concreta, los museos monograficos del exilio creados en Espana. Se plantea desde una perspectiva comparativa a nivel nacional para determinar cuantos espacios estan consagrados a la memoria y al patrimonio de las exiliadas, quienes ademas de estar condicionadas politicamente se convirtieron en las grandes olvidadas. Asimismo, se hace referencia a un proyecto feminista puesto en marcha para museos con el fin de comprobar que lugar han ocupado en este tipo de iniciativas. Abstract This article analyzes the recovery of women artists and intellectuals of the diaspora from the museum framework, the construction of their identities and their incorporation in the exhibition discourses. The study focuses on a specific type of institution, the monographic museums of exile created in Spain. A comparative perspective is proposed at the national level to determine how many spaces are devoted to the memory and heritage of the exiles, who in addition to being politically conditioned became the great forgotten ones. Likewise, reference is made to a feminist project launched for museums in order to verify their place in this type of initiative.
{"title":"La reconstrucción de la identidad femenina en los museos: la recuperación de las olvidadas = The Reconstruction of Female Identity in the Museums: The Recovery of the Forgotten","authors":"Inmaculada Real López","doi":"10.5944/etfvii.8.2020.26713","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.26713","url":null,"abstract":"Este articulo analiza la recuperacion de las mujeres artistas e intelectuales de la diaspora desde el marco museistico, la construccion de sus identidades y su incorporacion a los discursos expositivos. El estudio se centra en un tipo de institucion concreta, los museos monograficos del exilio creados en Espana. Se plantea desde una perspectiva comparativa a nivel nacional para determinar cuantos espacios estan consagrados a la memoria y al patrimonio de las exiliadas, quienes ademas de estar condicionadas politicamente se convirtieron en las grandes olvidadas. Asimismo, se hace referencia a un proyecto feminista puesto en marcha para museos con el fin de comprobar que lugar han ocupado en este tipo de iniciativas. Abstract This article analyzes the recovery of women artists and intellectuals of the diaspora from the museum framework, the construction of their identities and their incorporation in the exhibition discourses. The study focuses on a specific type of institution, the monographic museums of exile created in Spain. A comparative perspective is proposed at the national level to determine how many spaces are devoted to the memory and heritage of the exiles, who in addition to being politically conditioned became the great forgotten ones. Likewise, reference is made to a feminist project launched for museums in order to verify their place in this type of initiative.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48883019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27362
Julio Andrés Gracia Lana
Resena de: Masotta, Oscar, La historieta en el mundo moderno. Alcala de Henares, Ediciones Marmotilla, 2018. ISBN: 978-84-090-3648-6. 176 pp.
评论作者:马索塔，奥斯卡，现代世界的漫画。Alcala de Henares, Marmotilla出版社，2018年。ISBN: 978-84-090-3648-6。176 pp。
{"title":"Reseña de: Masotta, Oscar, La historieta en el mundo moderno","authors":"Julio Andrés Gracia Lana","doi":"10.5944/etfvii.8.2020.27362","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27362","url":null,"abstract":"Resena de: Masotta, Oscar, La historieta en el mundo moderno. Alcala de Henares, Ediciones Marmotilla, 2018. ISBN: 978-84-090-3648-6. 176 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42896892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27436
Ana Pol Colmenares, María Rosón Villena
En este articulo desarrollamos una propuesta teorica que expone y se interroga sobre algunas de las practicas posibles de un museo que se piensa feminista. Bajo nuestra perspectiva, la inclusion de obras de artistas mujeres no solo tiene que ver con la premisa de incorporar a un colectivo invisibilizado sino que su importancia, sobre todo, radica en la transformacion de los modelos de hacer historia y su impugnacion a la construccion de un relato simplificado, autorreferencial, teleologico-desarrollista, etnocentrico y patriarcal. Desarrollamos nuestro planteamiento a traves de la discusion de cinco conceptos: reunir, proponer, mantener, contar y divagar. En la segunda parte del articulo nos detenemos extensamente en el ultimo concepto, divagar, al ser una propuesta propia que tiene que ver con una aproximacion al museo desde la fenomenologia feminista. Pensamos que las intersecciones entre espacio, practica artistica y feminismo pueden proporcionar lecturas ricas y renovadoras para los museos. En esta ocasion, trazamos un recorrido a traves de dos figuras: la flâneuse y la exiliada. Ambas desvelan algunos aspectos de las relaciones historicas entre espacio y mujeres y de forma activa combaten el espacio patriarcal con sus ausencias/presencias. Abstract In this article we develop a theoretical proposal that exposes and questions possible museum practices framed as feminist ones. From our perspective, the inclusion of works by women artists in museum displays certainly has to do with the premise of incorporating an invisible collective. However above all, its importance lies in its ability to transform models for making history and the challenge implicit in the construction of a simplified, self-referential, teleological-developmental, ethnocentric and patriarchal narrative. We develop our approach through the discussion of five actions linked to museum practice: to gather, to propose, to maintain, to tell and to digress. In the second part of the article, we dwell extensively on the last concept, «to digress», and its importance in our own proposals that outline an approach to the museum that is rooted in feminist phenomenology. We think that the intersections between space, artistic practice and feminism can provide rich and renewing readings of and interactions with museums. On this occasion, we trace a journey through two figures: the flâneuse and the exiled. Both reveal aspects of the historical relationships between women and space and women while also actively combatting patriarchal spaces marked by different absences/presences.
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Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27478
Maite Garbayo-Maeztu
Este articulo explora las caracteristicas de la intervencion curatorial feminista a partir del analisis de un caso de estudio: la exposicion Yo, la peor de todas, comisariada por su autora. Se articula en torno a una reflexion critica sobre las distintas estrategias que se pusieron en marcha en este proyecto. Primero, tergiversar un encargo inicial de la institucion, que pedia una exposicion de mujeres artistas para cumplir con la cuota de lo politicamente correcto. Segundo, profundizar en la cita, entendida como encuentro afectivo y como practica de reconocimiento, pero tambien como estrategia artistica y curatorial feminista. Finalmente, se interroga sobre las propias condiciones de existencia de la practica curatorial feminista en el contexto del arte contemporaneo, donde predominan formas de trabajo precarizadas y modos neoliberales de entender los afectos que invisibilizan y denostan los trabajos de cuidado. Abstract This article explores the characteristics of feminist curatorial intervention based on the analysis of a case study: the exhibition Yo, la peor de todas, curated by myself. It begins with a critical reflection on the different strategies that were implemented in this project. First, to shift an initial commission from the institution that asked for an exhibition of women artists to meet the quota of political correctness. Second, to deepen in the notion of cite, understood as an affective encounter and as a practice of recognition and as an artistic and curatorial feminist strategy. Finally, it questions the very conditions of existence of feminist curatorial practice in the context of contemporary art, where precarious forms of work and neoliberal modes of understanding affects predominate, denigrating care work and rendering it invisible.
本文通过对一个案例研究的分析，探讨了女权主义策展干预的特点:作者策划的Yo, la peor de todas展览。它是基于对在这个项目中实施的各种策略的批判性反思。首先，歪曲了该机构最初的委托，该委托要求举办女性艺术家展览，以满足政治正确的配额。第二，深化约会，理解为情感的相遇和认可的实践，同时也是女权主义艺术和策展策略。最后，它质疑了女权主义策展实践在当代艺术背景下的存在条件，在当代艺术背景下，不稳定的工作形式和新自由主义理解情感的方式占主导地位，这些情感使护理工作隐形和贬低。本文通过对一个案例研究的分析，探讨了女权主义策展干预的特点:我，最糟糕的，我自己策展的展览。它首先对在这个项目中实施的不同战略进行了批判性的反思。首先，将最初的委员会从要求举办女艺术家展览的机构转移到满足政治正确性配额的机构。第二，深入探讨cite的概念，将其理解为一种情感的相遇和一种承认的实践，以及一种艺术和策展的女权主义策略。最后，它质疑当代艺术背景下女性主义策展实践的存在状况，其中不稳定的工作形式和理解影响的新自由主义模式占主导地位，诋毁关怀工作，使其隐形。
{"title":"Tergiversar, citar, tropezar: el comisariado como práctica feminista = Shifting, citing, stumbling: curating as a feminist practice","authors":"Maite Garbayo-Maeztu","doi":"10.5944/etfvii.8.2020.27478","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27478","url":null,"abstract":"Este articulo explora las caracteristicas de la intervencion curatorial feminista a partir del analisis de un caso de estudio: la exposicion Yo, la peor de todas, comisariada por su autora. Se articula en torno a una reflexion critica sobre las distintas estrategias que se pusieron en marcha en este proyecto. Primero, tergiversar un encargo inicial de la institucion, que pedia una exposicion de mujeres artistas para cumplir con la cuota de lo politicamente correcto. Segundo, profundizar en la cita, entendida como encuentro afectivo y como practica de reconocimiento, pero tambien como estrategia artistica y curatorial feminista. Finalmente, se interroga sobre las propias condiciones de existencia de la practica curatorial feminista en el contexto del arte contemporaneo, donde predominan formas de trabajo precarizadas y modos neoliberales de entender los afectos que invisibilizan y denostan los trabajos de cuidado. Abstract This article explores the characteristics of feminist curatorial intervention based on the analysis of a case study: the exhibition Yo, la peor de todas, curated by myself. It begins with a critical reflection on the different strategies that were implemented in this project. First, to shift an initial commission from the institution that asked for an exhibition of women artists to meet the quota of political correctness. Second, to deepen in the notion of cite, understood as an affective encounter and as a practice of recognition and as an artistic and curatorial feminist strategy. Finally, it questions the very conditions of existence of feminist curatorial practice in the context of contemporary art, where precarious forms of work and neoliberal modes of understanding affects predominate, denigrating care work and rendering it invisible.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43362762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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