{"id":19051,"date":"2014-04-30T01:00:00","date_gmt":"2014-04-30T01:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/04\/30\/ordenar-la-critica-take-it-or\/"},"modified":"2014-04-30T01:00:00","modified_gmt":"2014-04-30T01:00:00","slug":"ordenar-la-critica-take-it-or","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/ordenar-la-critica-take-it-or\/","title":{"rendered":"Ordenar la cr\u00edtica. Take it or Leave It"},"content":{"rendered":"

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\nViena, 1994. Andrea Fraser hablaba de la necesidad de un tipo de pr\u00e1ctica art\u00edstica que analizase los escenarios y las situaciones donde ocurre el trabajo del artista. Quer\u00eda describir las condiciones econ\u00f3micas y la red de relaciones sociales bajo las que dicha noci\u00f3n de trabajo ten\u00eda lugar.<\/p>\n

Esta primavera el Hammer Museum de Los \u00c1ngeles abre las puertas de Take It or Leave It: Institution, Image, Ideology<\/em>. La exposici\u00f3n quiere ofrecer al p\u00fablico una mirada a los or\u00edgenes de la cr\u00edtica institucional y las pr\u00e1cticas apropiacionistas, un maridaje que no siempre queda claro en el planteamiento expositivo. <\/p>\n

Las curadoras Anne Ellegood y Johanna Burton traen a la comunidad trabajos de m\u00e1s de 36 artistas, casi todos realizados en las d\u00e9cadas de los 80 y los 90. Las categor\u00edas registro p\u00fablico<\/em>, el archivo, la identidad americana, la interacci\u00f3n, el lenguaje, los mass-media, la pol\u00edtica, el museo<\/em> o la representaci\u00f3n<\/em> articulan un dise\u00f1o espacial basado en la sucesi\u00f3n de salas organizadas. No entiendo esta clasificaci\u00f3n. \u00bfAcaso no reside el poder de la cr\u00edtica institucional precisamente en su capacidad de interpelar a esas y otras categor\u00edas a la vez, apuntando a la desactivaci\u00f3n de parte de las pol\u00edticas que las configuran en el presente, as\u00ed como a las relaciones de poder que estas escriben? La autoridad institucional del museo para echar mano de la catalogaci\u00f3n y las etiquetas en su af\u00e1n por ordenar una visi\u00f3n del mundo determinada es aqu\u00ed rescatada. <\/p>\n

A pesar de todo esto, la muestra nos da la oportunidad de disfrutar de nuevo de piezas tan potentes como Museum Highlights. A Gallery Talk <\/em> (Andrea Fraser, 1989), Proximity to Power, American Style<\/em> (Silvia Kolbowski, 2003-2004), o (Gingerbread) Feeder 2<\/em> (Nayland Blake, 1998). No falta el trabajo de F\u00e9lix Gonz\u00e1lez-Torres, Matt Mullican, o Judith Barry, entre otros. <\/p>\n

Si el museo recurre a la ordenaci\u00f3n tem\u00e1tica para afianzar una visi\u00f3n de la historia reciente de pr\u00e1cticas pol\u00edticas todav\u00eda vigentes, \u00bfc\u00f3mo media esta ordenaci\u00f3n entre el potencial de esas pr\u00e1cticas y nuestra experiencia como p\u00fablico? \u00bfQu\u00e9 faceta de nuestra experiencia es entonces activada por tal dispositivo? Como siempre, los irresolubles problemas de la traducci\u00f3n y la historizaci\u00f3n…<\/p>\n","protected":false},"excerpt":{"rendered":"

Viena, 1994. Andrea Fraser hablaba de la necesidad de un tipo de pr\u00e1ctica art\u00edstica que analizase los escenarios y las situaciones donde ocurre el trabajo del artista. Quer\u00eda describir las…<\/p>\n","protected":false},"author":1245,"featured_media":15488,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6783],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nOrdenar la cr\u00edtica. 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