Nevertheless, the will was there to pressure the museum to maintain this wall. As a result of this pressure and the intervention of a judge, we are finally.
- IV International Congress – Buenos Aires 2010.
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Above and beyond whether or not I agree—and this is, indeed, the case— with what the graffiti proposes—it speaks of human rights, against the killings that we are all familiar with—the issue was an extraordinary case, because I am certain that if it were an operating room that was under construction, no one would oblige us to put a reproduction of this mural inside. On the other hand, when I was in Rio, I saw a small chapel; they told me that it was in the midst of an interesting problem, at an interesting critical point.
When things reach a point of institutional insanity, due at times to ministers or judges, they tend to take on an interesting character.
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This situation, which means revising our conceptual zones of tension and being able to think of ourselves as a function of full representation, is the objective of the administration that we have begun. I completely agree with the need to open up the game. I believe that we have to stop kidding around; we have copied the most frivolous things in the world from the universe of global museologic culture.
I celebrate the fact that she is here with us today to present the MuAC, whose opening I was fortunate. Graciela de la Torre: Thank you, Andrea. First reflection. Everything that some museums want to know but are afraid to ask themselves. During the past three decades, the world of visual arts has changed drastically. The discourses, ideas and theories that used to validate production exercise less and less control in determining the value of these objects in the face of an enormously wide range of creative practices, particularly in the case of emerging art.
On the map of current and contemporary art, museums are certainly the most visible institution, the one that elicits the greatest expectations on. For a long time since Modernity, I would say hegemonic museums have been awarded leadership in the world of museums I am referring to European and North American institutions.
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Today, competition between museums has turned ferocious on a global scale and they are endlessly occupied and preoccupied with gen-. Should museums be centered around orthodoxy, based on the objects and the study, documentation and interpretation of their collections? Can museums achieve a synthesis between tradition and a communications laboratory? What capabilities should an institution have in order to exercise leadership?
IV International Congress – Buenos Aires 2010
In light of the challenges and pressures they are subject to, what are the tools that a museum needs? What are the indicators, as Florencia said, according to which the success of a museum should be measured? Where does a museum insert itself in a society of knowledge? Second reflection.
MAG Spanish edition
Mexico possesses one of the largest networks of museums in the world over 1, , that protect the mirror patrimony of the long duration and continuity of our culture or that evidence foreign inheritances, guarded within historic constructions or in ex profeso buildings, many of which are first rate.
Distant from and invisible to post-revolutionary discourse, contemporary art has not found its place in public archives, and as such those wishing to get to know our recent visual history have had to approach galleries or private collections. This extraordinary deed in the cultural and university universe is less so in our country, considering that historically, and for the past four centuries, the UNAM has assumed responsibility that would pertain to the Mexican state: the Biblioteca Nacional and the Hemeroteca Nacional, meteorological and astronomical observatories, and oceanographic.
On a patrimonial level, the UNAM conserved the original collection that gave birth to history and archaeological museums and also amassed that which gave rise to art museums. It was necessary to observe the phenomenon from different points of view. On the one hand, from the perspective of university autonomy and interdisciplinarity, but also in light of a complex interaction with the visual arts, without overlooking the flexibility of a mandate where the museum would not form part of the government, but would be part of the Mexican state.
As such, what model of museum and management was desirable, possible and measurable for this new institution? European examples based on an orthodoxy of conservation, study and documentation of their collections did not seem to be well suited to our case, since decision making and financing were closely tied to bureaucracy. As a result, it was clearly anachronistic to look toward post-colonial societies such as our own with the nationalism implicit in its expository discourse and formal education, considered as vehicles for transmitting ideology.
As an initial paradigm, we must say that the museological concept for the MuAC was radical: the first thing was to renounce the modernist model learned, grandiloquent, didactic, linear, monolithic, object-centered and, among other things, to take in principles pertaining to a new museology in order to make the community the pampered figure in the new institutional scheme. Not without a fight, and based on a program of necessities, the conceptual platform for the MuAC projected a paradigm: to displace the hegemony of the object in order to capitalize on the user as the primary element of the.
Once these premises had been tempered and the museum opened in image 3 , what the MuAC proposed in physical and conceptual terms had entered an evaluation process.
Its architectural, technical and spatial facilities are weighed; its programs and tools for communication and interpretation are examined and adjustments are made; based on qualitative and quantitative indicators, the influx of public, its characteristics and its reception of different activities are examined; the feasibility of incorporating private initiatives is analyzed in terms of co-responsibility for and financing of the institution, among other issues that are investigated.
Even more importantly, inserting the MuAC in a university typology allows it to—or demands, I would say—carry out its proposals within a framework of ongoing experimentation, debate and collegiate critique, in such a way that the museum territory and its working models become an expanded campus image 4. From this point of view, at present the MuAC is responding with five strategic coordinates, each of which gives rise to a particular work model.
One of these is curatorial image 5 , the purpose of which is to favor the generation of aesthetic experiences and to stimulate artistic experimentation, in addition to constructing new platforms for approaching current artistic production and its history based on collegiate criteria. There is no permanent exhibition, there are conceptual cycles along three curatorial lines: the collection must. The second coordinate is academic image 6 , focused on managing the collections of artworks and documents in a critical, systematic manner, applying information in a meditated fashion and generating and distributing this knowledge based on solidly founded, collegiate parameters.
The Arkheia project is the mainstay of the academic coordinate, and it deals with seminars, documentation networks and archive funds, publications and critique. The education coordinate image 7 leans toward strategic design and tools and environments implementation for the construction of meaning for viewers, promoting inclusion of a plural public and the development of participative audiences.