Suchergebnisse

Este artículo plantea las potencialidades de movilizar prácticas feministas en y desde la institución a partir de las experiencias de Museo en Red, una área del Departamento de Actividades Públicas del Museo Nacional Centro de Arte Reina Sofía. El ejercicio diario de prácticas de cuidados y el trabajo con diversos agentes sociales es atravesado por posicionamientos en materia de gestión de recursos comunes y haceres situados en el ecosistema cultural, socioeconómico y político. El reconocimiento de interdependencia y el trabajo a largo plazo son claves en un proceso frágil y fértil, que usa una metodología de pensar las prácticas como constructos teóricos para generar un espacio de reflexión crítica, una institucionalidad en devenir.AbstractThis article considers the potential of movilizing feminist practices from and within the institution taking as starting point the experiences of Museo en Red, an area of the Public Activities Department of Museo Nacional Centro de Arte Reina Sofía. The daily practices based on care and work with various social agents are interfered by taking position in matters of common resources managing and situated practices in the cultural, socio economic and political ecosystem. The acknowledgement of interdependence and working on a long term basis are key in this fragile yet fertile process, which uses a methodology of thinking the practice as theoretical constructs to generate a space of critical reflection, an institutionality-in-becoming.

Different changes in the political, social and economic environment force museums to adapt themselves constantly along their history to new challenges to develop their role as social institutions. From a conception based on the col-lection, this organisation transferred its focus to the public, which helped museums to understand the need of communication as a strategic tool for dialogue with their stakeholders. Nowadays, social media and, specially, Twitter, turns into useful tools in order to interact with public who reveals their desire to participate in organisations and express their opinions. The main aim of this article is to research how museums use Twitter as a tool for expression, dissemination of messages or communication with their publics. The methodology is based on monitoring, coding and decoding of quantitative data analysing the main official accounts of the 3 most visited museums in Madrid along February 2015. Conclusions show that despite social media are used by institutions, on-line communication strategies must be stablished to take advantages of social media. ; Los diversos cambios en el entorno político, económico y social han llevado al museo a una adaptación constante a lo largo de su historia para desarrollar su rol como institución social. De una concepción basada en el objeto, esta organización ha trasladado su foco al público, lo que ha llevado al museo a entender la necesidad de emplear la comunicación como herramienta estratégica para el diálogo con el público. En la actualidad, los medios sociales y, especialmente, Twitter, se han convertido en herramientas muy útiles para desarrollar esta interacción constante con su público quien, de manera creciente, desea participar en las organizaciones y hacer escuchar su voz. Por ello, este artículo tiene como objetivo principal investigar el uso que los museos hacen del medio social Twitter como herramienta para la divulgación de contenidos y la comunicación con su público. A través de una metodología basada en la monitorización, codificación y descodificación de datos cuantitativos, se analizan los perfiles oficiales de los tres museos más visitados de la ciudad de Madrid durante el mes de febrero de 2015. Las conclusiones arrojadas muestran que, a pesar del uso de herramientas de social media por parte de las organizaciones, deben establecerse estrategias comunicativas para el entorno online por parte de éstas para un buen aprovechamiento.

Luis Ignacio García interviews the writer, researcher and curator Ana Longoni from a distance and virtually. The conversation assumes and tries to explore the limits of the technical mediation that has framed most of our exchanges in the teaching and research activity in this complex year. The topics addressed cover the multiplicity of facets of Longoni's production and action around the tensions between art and politics, with special emphasis on her work in recent years as Director of Public Activities at the Reina Sofía Museum, and especially on the policies deployed by the museum throughout the pandemic. The expanded forms of a situated, networked and feminist museum for which Longoni works in its concrete praxis and management were at the center of the exchange. The following text transcribes the conversation, adapting it to the writing, but trying to maintain the fluidity and rhythm of the orality from which it starts. ; Luis Ignacio García entrevista a la distancia y de manera virtual a la escritora, investigadora y curadora Ana Longoni. La conversación asume e intenta tematizar los límites de la mediación técnica que ha enmarcado la mayor parte de nuestros intercambios en la actividad docente y de investigación en este año tan complejo. Los temas abordados recorren la multiplicidad de facetas de la producción y acción de Longoni en torno a las tensiones entre arte y política, haciendo especial hincapié en su trabajo de los últimos años como directora de Actividades Públicas del museo Reina Sofía, y especialmente en las políticas desplegadas por el museo a lo largo de la pandemia. Las formas expandidas de un museo situado, en red y feminista por el que trabaja Longoni en su praxis y gestión concreta ocuparon el centro del intercambio.El siguiente texto transcribe la conversación, adaptándola a la escritura, pero procurando mantener la fluidez y el ritmo de la oralidad de la que parte.

DOI: http://dx.doi.org/10.5377/cultura.v18i59.1057 Cultura de Paz • Año XVIII • N° 59 • Enero - Abril 2012 P / 39-40

We study on this paper the origins of the Museo Nacional Centro de Arte Reina Sofia (MNCARS), as an example of the particular methodology required to research on art museums history, given that it implies artistic, political and cultural issues. As we try to prove, the specific situation of post-Franco Spain is decisive on the creation of the MNCARS project. If the first plans of the Ministry of Culture with regard to the building of the former Hospital General of Madrid were to fill it with pre-existing institutions, a range of political and cultural factors will determine the birth of a new national museum of modern and contemporary art, which starts a new era on Spanish heritage politics. ; Como ejemplo de la particular metodologia que exige la investigacion de la historia de los museos de arte, en los que las cuestiones artisticas conviven con aspectos politicos y culturales, analizamos en este articulo los origenes del Museo Nacional Centro de Arte Reina Sofia (MNCARS). Como tratamos de demostrar, la particular situacion de la Espana que surge de la transicion democratica es determinante en el nacimiento del proyecto del MNCARS. Frente a los planes iniciales del Ministerio de Cultura, que consideraba la utilizacion del edificio del antiguo Hospital General de Madrid como contenedor de instituciones preexistentes, determinados factores politicos y culturales contribuiran a la creacion de un nuevo museo nacional de arte moderno y contemporaneo, con el que el joven Estado democratico iniciara una nueva etapa en la politica patrimonial española.

Personajes: Reina Carvajal, Francisco ; Fotografía de cuerpo entero del Teniente de Navío Francisco Reina Carvajal con uniforme de marina militar y el espadín propio de la oficialidad alemana. ; Reproducción digital, 2015

As a member of the South Conceptualismos Network (RCSur) and without attempting to attribute to my voice a representative character of the group, in this presentation I analyse the alliance between this collective platform of knowledge and position on the artistic and political practices of the 1960s, 1970s and 1980s in Latin America and the current cultural policies of the National Museum of the Centro de Arte Reina Sofia (MNCARS) as a unique case of institutional experimentation and networking that aims at re-shaping the relations between the Southern Museum and Public Dialogue in Latin America and the current cultural policies of the Museo Nacional Centro de Arte Reina Sofia (Museo Nacional de Arte Reina Sofia) as a unique case of institutional experimentation and networking aimed at re-shaping the relations between the Southern Museum and Public Dialogue in Latin America and the current cultural policies of the National Museum of Reina Reina Sofia (MNCARS). From a post-colonial perspective, the scope and faults of the project are analysed, including these reflections in the aesthetic and political tensions in the current economic and social crisis. This diagnosis makes it possible to reflect more generally on the problems of aesthetic museum policies around Latin American dematerialised practices, the relationship between the production of online knowledge and cultural institutions, and certain inputs inherent in the way in which the present attempt is made to remember Latin American 'critical' experiences of past decades. ; Peer reviewed ; As a member of the South Conceptualismos Network (RCSur) and without attempting to attribute to my voice a representative character of the group, in this presentation I analyse the alliance between this collective platform of knowledge and position on the artistic and political practices of the 1960s, 1970s and 1980s in Latin America and the current cultural policies of the National Museum of the Centro de Arte Reina Sofia (MNCARS) as a unique case of institutional ...

Guernica, painted by Pablo Picasso for the Pavilion of the Spanish Republic in 1937, constitutes one of the most significant emblems of 20th century art, in addition to becoming a symbol against the brutality and barbarism produced by war. However, sometimes this iconic nature has put aside some episodes related to the artwork, especially those linked to its relocation from the United States to Spain, highlighting the clear political connotations that this state operation had at a national and international level. ; El Guernica, pintado por Pablo Picasso para el Pabellón de la República Española de 1937, constituye uno de los emblemas más significativos del arte del siglo XX, además de erigirse en todo un símbolo contra la brutalidad y la barbarie producidas por la guerra. Sin embargo, en ocasiones este carácter icónico ha dejado a un lado algunos episodios relacionados con la obra, especialmente aquellos vinculados a su traslado desde Estados Unidos a España, destacando las claras connotaciones políticas que esta operación estatal tuvo a nivel nacional e internacional.

SOFIA INTERNATIONAL FILM FESTIVAL 2005 Film festivals in Central and Eastern Europe - "CentEast" in EU parlance - don't get much better than the 10th Sofia International Film Festival (9-19 March 2006) under its charismatic director Stefan "Kita" Kitanov. One glance at the 160-page SIFF catalogue tells most of the story - prominently displayed are circa 80 sponsors and partners. Moreover, these sponsors are said to contribute the lion's share of this year's 250,000 Euro budget, in contrast to reported city and government funding at a meagre 25,000 Euros. Altogether, 160 films (100 features, 30 documentaries, 30 shorts) from circa 40 countries were booked for viewing by an estimated audience of 70,000, that figure apparently including attendance at follow-up events in Plovdiv and Burgas that stretch the SIFF out for another full week. According to an SIFF bulletin, this year's 250 applications for entry in the competition doubled the.