El relato de la Historia del Arte ha sido predominantemente monológico y privilegia el arte hecho por el “genio creador” dejando a las diferencias en la periferia. La curaduría puede ayudar a pensar en otras posibilidades de entender el arte.
El relato de la Historia del Arte ha sido predominantemente monológico. En el sentido, que todas sus estipulaciones, particularidades y discursos se han erigido desde una única voz que sustenta y privilegia el arte hecho por el hombre blanco, heterosexual y occidental. Este sujeto es el acreedor del categórico “genio creador”. Esto deja fuera, en segundo e inferior plano, el arte hecho por minorías y grupos vulnerables.
La diferencia hoy en día como tema de interés mundial en la sociedad indica que la globalización es la principal razón por la cual se ha empezado a cuestionar la manera en la que se deben representar a grupos vulnerables/minoritarios y su papel en el discurso oficial del Estado Nación. El gran dilema de la sociedad globalizada yace en el cuestionamiento de la integración a la diferencia entre fundir dichas identidades con la del estado homogeneizando la cultura, o si respetar la misma como un otro separado.
Las minorías entonces, no han tenido la oportunidad de definirse a sí mismas más allá de su propia comunidad ya que se encuentran en una situación de subordinación y no controlan el discurso y moldeación de su identidad a lo largo de la historia. Es preciso para nuestro estudio y tiempo también ver cómo las minorías se han adaptado a un sistema cultural regido por la producción capitalista.
Guerrilla Girls. Do women have to be naked to get into the Met. Museum? (1989). New York.
A través de diversos campos de discusión, como el feminismo, los estudios de género, los estudios visuales y culturales se ha cuestionado, impugnado, e interpelado cómo es que esta ideología patriarcal y eurocéntrica atraviesa los modos de conocer y hacer de la disciplina.
Partiendo de estas discusiones, me interesa enfocarme en las potencialidades de la curaduría como ejercicio de representación para la gestión de la diferencia. La cultura visual es un dispositivo del que todos disponemos y utilizamos, diría pues que es la forma en la que logramos ver y percibir nuestro mundo con un significado.
La manera en la que vemos está afectada por lo que conocemos y creemos, es una fórmula que mezcla las imágenes que se nos presenta con nosotros mismos y las creencias que cargamos para formar una interpretación. El modo de ver está jerarquizado en términos de lo que reconocemos como creación artística y Arte con mayúscula.
Judy Chicago. Birth Tear/Tear (1985). Florida State University Museum of Fine Arts.
Si fuéramos expuestos a un mayor número de imágenes de diversos autores intelectuales, y éstas se unieran con un discurso que explicase su historia, trasfondo, y símbolos con relación a la cultura, entonces sería más fácil añadir nuevos imaginarios a nuestra cultura visual.
El proceso curatorial tiene entonces la intención de abrir nuestro panorama con educación y dándonos la oportunidad de poder discernir entre textos con diferentes propósitos y visiones imaginando nuevas posibilidades de evaluar en cuanto a contexto. Cada imagen posee un mundo de información detrás y no deberíamos calificarlas todas como un conjunto que se rige por las mismas normas.
Lo que yo planteo es que se puede utilizar esta propia apertura de interpretación de las imágenes en favor de las voces creadoras. Crear discursos a partir de ellas con enfoques en la cultura y contexto en que se han creado es entonces sumamente importantes en nuestro espacio y tiempo y posiciona la curaduría —que se enfoca justo en esta formulación de nuevas historias— como una herramienta de suma relevancia para poder pensar de manera distinta, ya que amplifica y acerca a diversos y vastos sectores, historias que jamás han escuchado.
La curaduría es un modelo de pensamiento crítico que acerca el mundo de imágenes y textos que nos rodean y puede servir también como un agente que atente contra las formas convencionales de análisis visual y da herramientas que pueden formar experiencias y pensamientos subjetivos en el espectador, dotándolo de símbolos con significado que puedan ayudar a que su análisis visual sea mucho más rico.
Guerrilla Girls. History of wealth and power (2016). Whitney Museum.
Por Regina Alencaster
Instagram: alencasterita
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