Seminario de Investigación en Museología de los Países de Lengua Portuguesa y Española, II, 2010
Circuitos, instituciones y globalización del arte
Diego Salcedo Fidalgo
AbstractIf with the autonomy of art and aesthetics, dichotomous boundaries such as art and culture -or superior art and inferior art- were clear; today the issue is less clear. Hybridization, kitsch, creative naive manifestations, among other phenomena, place in evidence that the boundaries of the art world are quite blurred. Thus, the problems of art move to other practices (community, economic, political) and other disciplines (anthropology, sociology, economics and administration). Henceforth, the question of the circuits of art and institutions gain great relevance for understanding the world of art. The creative production field, referring not only to the artist and his work, extends to the notions of circulation (markets, museums, and galleries), the definition of artistic legitimacy (What circulates in the hegemonic channels and what creations seek alternative circuits?) and the possibility for the construction of artistic values. On the other hand, the rhetoric of multiculturalism, the resistance and the empowerment of subaltern groups fragment the classical notion of the creator. Amplifying this definition, gender, race, and sexual choice mediate in the definition of the creative concept focusing the debate on culture. So from this perspective, "art" would be a kind of symbolic production and a cultural practice. In this context the notions of plurality, nomadism, otherness and globalization are crucial in thinking about art today. Key words: Museum. Circuits. Globalization. Art.
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