In recent years, the close collaboration between museums and art spaces in the circulation of exhibitions has been fostered by the geographical extension of cultural representation, the development of increasingly ambitious international platforms and the globalization of audiences’ cultural background.
This process does not only allow for publics from different cities to share referents and experiences, but it is also transforming the orientation of cultural exchange itself—growingly understood as the product of a complex fabric challenging the center vs. periphery division. The task of creating institutional networks, planning collaborative programmes and producing a migrating flow of exhibitions nevertheless poses organizational, conceptual and practical challenges. The meeting gathers speakers from leading institutions with the aim to discuss these challenges as well as exploring the limits, both conceptual and geopolitical, of the local narratives coexisting in these emerging circuits. Museum directors and curators will share and debate the strategies they deploy in their own institutions in order to address the new regional and global logics of consumption.
The aim of the meeting is to provide a space for reflection where art professionals working in museums and contemporary art centres can exchange ideas about the possibilities that this exhibition format offers to their institutions.
25 febrero, 2015 - 12:00 p.m. to 12:30 p.m.
Group 1: Latin American and Iberian Exhibitions: From Metropolitan Exhibitions to Circuits’ Decentralization
This group aims to stablish a discussion on how itinerary exhibitions have served as a platform to write Art History in Latin America, Spain, and Portugal. It is proposed to reflect on the practical, political and conceptual limitations of panoramic and historical exhibitions, and seeking alternatives to the dichotomy between national exhibitions generated in the south and those produced in other geographies.
How the notions of "Latin American art", "Spanish art" or "Portuguese art" are useful in programming and making circulate exhibitions in our institutions? Is this regional perspective a framework that allows an effective artistic circulation? How to transform or revise this perspective?
Moacir dos Anjos, Curator at the Joaquim Nabuco Foundation, Recife
Antonio Franco, Director of Iberoamerican Museum of Contemporary Art of Extremadura (MEIAC), Badajoz
Ann Gallagher, Head of Collections (British Art) at TATE, London
José Miguel G. Cortés, Director of Valencia Institute of Modern Art (IVAM), Valencia
Chema González, Head of Cultural Activities at Museo Reina Sofía, Madrid
Lola Hinojosa, Curator of Permorming Arts and Intermedia at Museo Reina Sofía, Madrid
Sharon Lerner, Curator at the Museum of Art of Lima (MALI), Lima
Fionn Meade, Senior Curator of Cross-Disciplinary Platforms at the Walker Art Center, Minneapolis
Fernando López, Coordinator of Travelling Exhibitions at Museo Reina Sofía, Madrid
Manuel Olveira, Director of Museum Contemporary Art of Castilla y León, León
Dirk Snauwaert, Director of WIELS Contemporary Art Centre, Bruselas
Diana B. Wechsler, Deputy Director of the MUNTREF, Buenos Aires
Benjamin Weil, Director of Centro Botín, Santander
João Fernandes, Deputy Director at Museo Reina Sofía, Madrid
February 25, 2015 - 4:00 p.m. to 6:30 p.m.
Group 2: Travelling exhibitons: Projects’ Circulation and Collaboration Opportunities
This group has the purpose to share institutional experiences form the participants related to travelling contemporary art exhibitions and to analyze how institutions collaborate to produce their programs and put them into circulation. We will discuss the advantages and practical and organizational difficulties of these kind of projects, as well as their political and conceptual implications from the inside of institutions, their local interactions, and possible alternatives to make this projects’ flow more active and plural. What kind of networks have we developed between our programs? To what extent these shared programs have also produced a shared narration of artistic character?
Carlota Álvarez Basso, Director of Matadero Madrid, Contemporary Art Center
Nekane Aramburu, Director of Es Baluard, Palma de Mallorca
Ferrán Barenblit, Director of Centro de Arte 2 de Mayo (Ca2M), Móstoles
Francisco Brugnoli, Director of the Museum of Contemporary Art, Santiago de Chile
Cristina Cámara, Curator of Film and Video at Museo Reina Sofía, Madrid
Daniel Castillejo, Director of Artium, Contemporary Art Museum-Center, Vitoria-Gasteiz
Marta Gili, Director of Jeu du Paume, Paris
María Mercedes González, Director of the Museum of Modern Art of Medellin (MAMM), Medellin.
Bartomeu Marí, Director of Contemporary Art Museum of Barcelona (MACBA), Barcelona
Natalia Guaza, Exhibitions management manager at Museo Reina Sofía, Madrid
José Luis Paredes Pacho, Director of Chopo University Museum, Mexico D.F.
María Belén Sáez de Ibarra, Director of Museum of Contemporary Art of the National University, Bogotá
Claudia Zaldivar, Director of the Solidarity Museum, Santiago de Chile
Cuauhtémoc Medina, Chief Curator of the Museum of Contemporary Art of México (MUAC), México D.F.