Avances y estrategias para un análisis sociológico de arte contemporáneo mendocino. El corpus: la programación anual de los museos de arte de Mendoza (1983-2001)
Understanding the current museum as a memory device, full of content with a key role in the transmission of cultural heritage, enables us to analyze the story on contemporary art in Mendoza which places museums as the institutions which spread the so needed cultural memory of a community. In this sp...
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| Formato: | Online |
| Lenguaje: | spa |
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Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo
2018
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/1477 |
| Sumario: | Understanding the current museum as a memory device, full of content with a key role in the transmission of cultural heritage, enables us to analyze the story on contemporary art in Mendoza which places museums as the institutions which spread the so needed cultural memory of a community.
In this sphere, based on studies on art and society, we seek to establish some strategies to argue about the links between art and memory management from post-dictatorship Mendoza (1983-2001).
Our work moves towards building a particular sociological perspective of art, based on social theory and artistic practices in context, adopting approaches to address a complex problem. Our object of study is the link between the management of cultural memory and the management of art during the period following the dictatorship (1983-2001), and its impact on the annual program of the art institutes in Mendoza.
In this sense, understanding that artistic practices are developed in a world of art (Becker, 1974, 2008) as a variable and flexible cooperative network, we make a thorough description of the annual activities in art museums of Mendoza in the period 1983-2001, to come to conclusions regarding the construction of cultural memory through museums.
Thus, we try to show some of our doctoral research axes: "Art museums of Mendoza in the construction of a necessary cultural memory (19832001)". In search of a critical perspective, we suggest some definitions regarding an analysis strategy (model) for our aim "”scheduling activities, through a shift from the models of artwork analysis towards these schedules to observe the possible constraints of museum management at the stage of post-dictatorship. |
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