Seminario de Investigación en Museología de los Países de Lengua Portuguesa y Española, II, 2010
Museus, artistas e afins
Elisa Noronha Nascimento
AbstractThe following article originates from the interest in reflecting upon the implications of the process of musealization of contemporary art, not only in the museological but also in the artistic practice, both of them comprehended in their poetic practices (as producers of knowledge and meanings) and political practices (as regards results, schools and actions). Among the various aspects deserving to be analysed, firstly is the claim to explore the already historical relationship of love and hate between the museum and the contemporary artist, highlighting the different characteristics that such a relationship assumes during the existence of these museums. In a second moment, it is attempted to reflect upon the specific characteristic developed during the last decades that this encounter assumes between the museum and the contemporary artist, which is closer to cooperation than to an argumentative process. It is about the inversion and the exploration of the processes of communication that let both, the museum and the artist intensify the dialogue with their audiences. Among the possible implications to be analysed we highlight:The existential question that motivates any inversion, that is to say, the mission of the museum and the contemporary artist within the political and socio-cultural context in which they participate and are immersed; • The process of reflection undergone by the museological institution in the last decades and its opening up to actions that tense that privileged space frequently occupied by its discourse. • The very notion of communication which can be understood as a negotiation of meanings, as a builder of values and subjectivities, like the development of an action that is part of a cultural policy. (Hooper- Greenhill); • The awareness that the museums are not only institutions with the power of building stories and memories, but also local potentials of change; • The questioning of all those implications on the artists side, especially when assuming as an art practice the appropriation of the museological language trying to revealing its discourse structures; • Examples of proposals developed between the museums and the artists, relevant to this reflection. Key words: Museum of Contemporary Art. Living artists. Modern. Contemporary. Contestation. Colaboration.
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