Dissertação
Museu, exposições e curadorias: a geopolítica da Fundação Iberê Camargo
Fecha
2013-03-08Registro en:
DALCOL, Francisco Eduardo Coser. MUSEUM, EXHIBITIONS AND CURATORSHIP: THE GEOPOLITIC S IBERÊ CAMARGO FOUNDATION. 2013. 286 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2013.
Autor
Dalcol, Francisco Eduardo Coser
Institución
Resumen
This research discusses the contemporary art field, analyzing, in the post-modern and late capitalism
(Fredric Jameson, Jürgen Habermas, Manuel Castells, Zygmunt Bauman), the formation of a
geopolitical in curatorial project by Iberê Camargo Foundation (FIC). The focus on the curatorial
exhibition takes place through the establishment of a representative of the institution operating in
the artistic field of Rio Grande do Sul, proposing a reflection on the network of museums, collections,
curator and other staff in the modes of mediation processes in art cultural globalization. With the
theoretical situated in the art field (Pierre Bourdieu) and sociology of mediation (Nathalie Heinich),
we start from the idea that curatorship, provided a field agent relational and hierarchical structured
positions, establishes a mediation art that tells what's between work and reception. Already with the
theories of post-colonialism (Renato Ortiz, Nestor Canclini, Gerardo Mosquera) and the end of art
history (Hans Belting), examines the curatorial project of the FIC because of the relationships and
institutional placements between center and periphery in uneven processes of globalization. For the
case study, delimited to the exhibitions from 2008, with the inauguration of the museum of FIC, to
2012. Initially, the process runs elapsed since 1995, so situate institutionalization in the context of
the capitalization of culture and review the status of museums. The methodology is based on
exploratory and descriptive study, using various textual sources, including books, catalogs, articles
and academic papers, and field research, interviews and survey data from the primary sources. The
observations and analyzes seek to examine the curatorial exhibitions as devices that operate in
setting up an institutional determined by geopolitical tensions and inequalities of power. Among the
results, it was concluded that, although the FIC has management and propose their own projects on
display and these are determined by supply and is available as relations placements of agents,
relations and symbolic by its own rules governing the operation of artistic field. In addition, this
research throws questions about the complex relationships between institutions, artists, public
market, curatorship, and critical historiography.