Pub Date : 2020-11-17DOI: 10.5944/etfvii.8.2020.27341
Dolores Villaverde Solar
Este articulo se acercara al Centro Galego de Arte Contemporanea (Santiago de Compostela) desde su construccion en los anos noventa del siglo XX para comprobar, a traves de su historia, si es posible a dia de hoy hablar de feminismo o no en su trayectoria. Se intentara llegar a unas conclusiones repasando la labor de sus gestores/as y algunas de las muestras mas interesantes de las artistas que tienen un papel relevante en el ambito del feminismo. Abstract This article will approach the Galician Center for Contemporary Art (Santiago de Compostela) since its construction in the nineties of the 20th century, to check, through its history, if it is possible today, to speak of feminism or not in its history. We will try to reach some conclusions by reviewing the work of their directors and some of the most interesting exhibitions of the artists who have a relevant role in the feminism.
{"title":"La presencia del arte feminista en el CGAC. Selección de exposiciones y artistas = The Presence of Feminist Art in the CGAC. Selection of Exhibitions and Artists","authors":"Dolores Villaverde Solar","doi":"10.5944/etfvii.8.2020.27341","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27341","url":null,"abstract":"Este articulo se acercara al Centro Galego de Arte Contemporanea (Santiago de Compostela) desde su construccion en los anos noventa del siglo XX para comprobar, a traves de su historia, si es posible a dia de hoy hablar de feminismo o no en su trayectoria. Se intentara llegar a unas conclusiones repasando la labor de sus gestores/as y algunas de las muestras mas interesantes de las artistas que tienen un papel relevante en el ambito del feminismo. Abstract This article will approach the Galician Center for Contemporary Art (Santiago de Compostela) since its construction in the nineties of the 20th century, to check, through its history, if it is possible today, to speak of feminism or not in its history. We will try to reach some conclusions by reviewing the work of their directors and some of the most interesting exhibitions of the artists who have a relevant role in the feminism.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"285-300"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47954927","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.8.2020.27534
Borja Franco Llopis
Reseña de: López Terrada, María José, Efímeras y eternas: pintura de flores en Valencia (1870-1930). Casa Museo Benlliure, del 21 de febrero al 7 de julio de 2019. Valencia, Ajuntament de València, Regidoria de Patrimonio i Recursos Culturals, 2018. ISBN: 978-84-9089-159-9, 120 pp.
{"title":"Reseña de: López Terrada, María José, Efímeras y eternas: pintura de flores en Valencia (1870-1930). Casa Museo Benlliure, del 21 de febrero al 7 de julio de 2019","authors":"Borja Franco Llopis","doi":"10.5944/etfvii.8.2020.27534","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27534","url":null,"abstract":"Reseña de: López Terrada, María José, Efímeras y eternas: pintura de flores en Valencia (1870-1930). Casa Museo Benlliure, del 21 de febrero al 7 de julio de 2019. Valencia, Ajuntament de València, Regidoria de Patrimonio i Recursos Culturals, 2018. ISBN: 978-84-9089-159-9, 120 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"224 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85960699","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.8.2020.27347
Ester Alba Pagán, Aneta Vasileva Ivanova
La pandemia de 2020 enfrento las areas que tratan la memoria desde los margenes con la necesidad de transformar sus experiencias en estrategias con potencial de futuro. El articulo busca reflejar la interseccion entre dos campos de accion cultural comprometida: el de algunos museos valencianos y el de las asociaciones de mujeres gitanas, vistas tambien desde el ambito local. El objeto de nuestro analisis son dos vertientes de la actuacion cultural emancipadora: las experiencias, fenomenos a menudo caoticos y coyunturales, y las estrategias razonadas, que unen practicas del conocimiento critico hasta ahora no contiguas. El estado de alarma definio estas ramas estrategicas como inclusion digital y justicia social, apoyadas sobre los derechos identitarios y culturales e inseparables de las luchas de genero. Abstract The 2020 pandemic confronted the areas related to memory from the margins, with the need to transform their experiences into strategies with future potential. The article seeks to reflect the intersection between two fields of engaged cultural action: that of some Valencian museums and that of romi women’s associations, also seen at the local level. Thus, the object of our analysis are two strands of emancipatory cultural action: experiences, often chaotic and conjunctural phenomena, and reasoned strategies, which unite hitherto non-contiguous practices of critical knowledge. The state of emergency defined these strategic branches as digital inclusion and social justice, supported by identity and cultural rights and inseparable from gender struggles.
{"title":"Intersecciones críticas. Experiencias y estrategias desde la museología y el feminismo gitano, bajo el prisma del covid-19 = Critical Intersections. Experiences and Strategies from Museology and Roma Feminism, under the Prism of Covid-19","authors":"Ester Alba Pagán, Aneta Vasileva Ivanova","doi":"10.5944/etfvii.8.2020.27347","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27347","url":null,"abstract":"La pandemia de 2020 enfrento las areas que tratan la memoria desde los margenes con la necesidad de transformar sus experiencias en estrategias con potencial de futuro. El articulo busca reflejar la interseccion entre dos campos de accion cultural comprometida: el de algunos museos valencianos y el de las asociaciones de mujeres gitanas, vistas tambien desde el ambito local. El objeto de nuestro analisis son dos vertientes de la actuacion cultural emancipadora: las experiencias, fenomenos a menudo caoticos y coyunturales, y las estrategias razonadas, que unen practicas del conocimiento critico hasta ahora no contiguas. El estado de alarma definio estas ramas estrategicas como inclusion digital y justicia social, apoyadas sobre los derechos identitarios y culturales e inseparables de las luchas de genero. Abstract The 2020 pandemic confronted the areas related to memory from the margins, with the need to transform their experiences into strategies with future potential. The article seeks to reflect the intersection between two fields of engaged cultural action: that of some Valencian museums and that of romi women’s associations, also seen at the local level. Thus, the object of our analysis are two strands of emancipatory cultural action: experiences, often chaotic and conjunctural phenomena, and reasoned strategies, which unite hitherto non-contiguous practices of critical knowledge. The state of emergency defined these strategic branches as digital inclusion and social justice, supported by identity and cultural rights and inseparable from gender struggles.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"251-270"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44187707","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.8.2020.27451
José Luis Panea
El reposo al que la enfermedad conduce para mitigar el dolor encuentra –cultural e historicamente– como escenario paradigmatico el lecho, la cama. Este mueble, en tanto metafora corporal, suele ser testigo de acontecimientos como el nacimiento, la enfermedad, la sexualidad y el erotismo o la muerte. En el arte, ha devenido tropo frecuente al exponer dichas cuestiones, conduciendo a una re-experimentacion creativa del espacio domestico. Analizaremos una genealogia de artistas que aportan otra mirada a este enser por el que el cuerpo pasa , y que, debido a la experiencia de la enfermedad y el trauma, se resignifica, llevando al autor a replantar su propio habitar e incluso su practica artistica. Partiremos de la Estetica y la Historia del Arte para localizar las principales exposiciones sobre el tema y pondremos en relacion a los artistas que han tratado la cama como repositorio de dicho padecer. Abstract The repose to which the disease leads to mitigate the pain, finds –culturally and historically– as a paradigmatic scenario the bed. This piece of furniture, as a body metaphor, is usually witness of events such as birth, disease, sexuality and eroticism or death. In art, the bed has become a frequent trope especially to expose the illness as a moment of forced rest in which it is possible to creatively re-experience the domestic. We propose a genealogy of artists who bring another look to this belonging that, due to the experience of pain, trauma or disease, is re-signified, leading the author to reconsider his own habitat. We will start from Aesthetics and History of Art to analyse the main exhibitions on the subject and we will put in relation the artists who have treated the bed as a repository of said suffering.
疾病导致的休息以减轻疼痛——在文化和历史上——作为一个典型的场景，床，床。这种家具，作为身体的隐喻，经常见证诸如出生、疾病、性和色情或死亡等事件。在艺术中，它已经成为揭露这些问题的常用比喻，导致了对家庭空间的创造性再实验。我们将分析艺术家的谱系，他们为身体所经过的这个enser提供了另一种视角，由于疾病和创伤的经历，它重新定义了自己，导致作者重新种植自己的生活，甚至他的艺术实践。我们将从美学和艺术史出发，找到关于这个主题的主要展览，并将把把床作为这种疾病的仓库的艺术家联系起来。Abstract to The repose to which The疾病制订The pain,会见了—culturally床历来—as a paradigmatic scenario。This piece of negritude furniture, as a body,通常是witness of events如生育疾病,sexuality, eroticism or死刑。在艺术方面，床已经成为一个经常的主题，特别是在一个被迫休息的时刻，在那里可以重新体验家庭生活。我们提出了一个艺术家的谱系，他们带来了另一种观点，由于痛苦、创伤或疾病的经验，被重新定义，引导作者重新考虑他自己的栖息地。We will start from Aesthetics and History of Art to analyse the main关于exhibitions on the subject and We will put in the艺术家世界卫生组织已经对床作为repository said卵巢癌。
{"title":"Del descanso forzado a la cama interconectada como espacio de creación. Escenarios posibles desde las prácticas artísticas contemporáneas = From Forced Rest to the Interconnected Bed as a Space for Creation. Possible Stages in Contemporary Art Practices","authors":"José Luis Panea","doi":"10.5944/etfvii.8.2020.27451","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.27451","url":null,"abstract":"El reposo al que la enfermedad conduce para mitigar el dolor encuentra –cultural e historicamente– como escenario paradigmatico el lecho, la cama. Este mueble, en tanto metafora corporal, suele ser testigo de acontecimientos como el nacimiento, la enfermedad, la sexualidad y el erotismo o la muerte. En el arte, ha devenido tropo frecuente al exponer dichas cuestiones, conduciendo a una re-experimentacion creativa del espacio domestico. Analizaremos una genealogia de artistas que aportan otra mirada a este enser por el que el cuerpo pasa , y que, debido a la experiencia de la enfermedad y el trauma, se resignifica, llevando al autor a replantar su propio habitar e incluso su practica artistica. Partiremos de la Estetica y la Historia del Arte para localizar las principales exposiciones sobre el tema y pondremos en relacion a los artistas que han tratado la cama como repositorio de dicho padecer. Abstract The repose to which the disease leads to mitigate the pain, finds –culturally and historically– as a paradigmatic scenario the bed. This piece of furniture, as a body metaphor, is usually witness of events such as birth, disease, sexuality and eroticism or death. In art, the bed has become a frequent trope especially to expose the illness as a moment of forced rest in which it is possible to creatively re-experience the domestic. We propose a genealogy of artists who bring another look to this belonging that, due to the experience of pain, trauma or disease, is re-signified, leading the author to reconsider his own habitat. We will start from Aesthetics and History of Art to analyse the main exhibitions on the subject and we will put in relation the artists who have treated the bed as a repository of said suffering.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"557-580"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43827065","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.8.2020.27384
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":"1 1","pages":"319-340"},"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":"1 1","pages":"221-250"},"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.8.2020.28769
Patricia Molins
Presentacion de este numero y de los articulos que en el aparecen, acompanada de una breve introduccion al debate y un ejemplo, tomado del trabajo de la autora y de otras comisarias, de un aspecto ignorado en dicho debate: el de las exposiciones que sin tener una tematica explicitamente feminista o centrarse en nombres femeninos trabajan desde una perspectiva feminista, cuestionando el canon historiografico. Abstract Presentation of this issue and the articles that appear in it, including by a brief introduction to the debate and an example, taken from the work of the author and other curators, of an aspect ignored in said debate: the exhibitions that nor being openly feminist in its subject, neither focusing on female names, work from a feminist point of view, questioning the historical canon.
性能这个号码和这本书出现在简要介绍,acompanada辩论和一个例子摘自名申诉人和其他工作,忽视这个讨论:无需一个展览tematica女权的报价。女子名字或侧重从女权角度,质疑historiografico经典合作。Abstract Presentation of this issue and the articles that争取in it,包括:a brief introduction to the辩论和以采取from the work of the提交人and other curators of an监测器ignored in said: exhibitions, nor being公然讨论女权in its subject,既不关注女性名,work from a女权point of view,强制the历史尺度。
{"title":"Introducción: museos y feminismo. Dentro y fuera = Introduction: Museums and Feminism. In and Out","authors":"Patricia Molins","doi":"10.5944/etfvii.8.2020.28769","DOIUrl":"https://doi.org/10.5944/etfvii.8.2020.28769","url":null,"abstract":"Presentacion de este numero y de los articulos que en el aparecen, acompanada de una breve introduccion al debate y un ejemplo, tomado del trabajo de la autora y de otras comisarias, de un aspecto ignorado en dicho debate: el de las exposiciones que sin tener una tematica explicitamente feminista o centrarse en nombres femeninos trabajan desde una perspectiva feminista, cuestionando el canon historiografico. Abstract Presentation of this issue and the articles that appear in it, including by a brief introduction to the debate and an example, taken from the work of the author and other curators, of an aspect ignored in said debate: the exhibitions that nor being openly feminist in its subject, neither focusing on female names, work from a feminist point of view, questioning the historical canon.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":"1 1","pages":"15-28"},"PeriodicalIF":0.2,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46616557","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":"1 1","pages":"99-128"},"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":"1 1","pages":"417-440"},"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。
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