The aim of this course is to offer a perspective of the Argentine art scene by visiting museums and analyzing art exhibitions. Students—besides immersing themselves into the deep and wide cultural life of the city, and incorporating specific knowledge of argentine visual art—will be able to acquire concepts that will help them understand museums and exhibitions as complex communicational phenomena. The course is divided into three conceptual areas that will merge and combine with each other: The City as an Art Space; Collections in Exhibits and Telling a Story: Individual Artists and Theme Exhibits.
Prerequisites:
None.
Learning outcomes:
By the end of the course, students are able to:
Have a basic prospect of the wide visual art offer in the city of Buenos Aires.
Approach the study of art exhibitions both as a form of discourse and as a social and political construction.
Have the ability to detect the intentions and strategies behind an art curatorship.
Analyze curatorial scripts and understand the idea of a curator as author; understand stages in the exhibition development process; different perspectives on art reception and diversity of audiences; and different proposals of exhibition design.
Gain basic knowledge of Argentine artists and Argentine art through history.
Develop critical thinking skills on the ways museum discourses are constructed.
Method of presentation:
Classes will be theoretical and practical. Theoretical classes in the classroom, including image and video projections, will be combined with group visits to different exhibitions in the city. Students are expected to maintain a high level of participation throughout the course, analyzing and exchanging ideas about the main concepts and art pieces analyzed in class. Guest speakers will be invited throughout the course: Curators, exhibition designers, museum directors as well as other experts on Argentine art.
Required work and form of assessment:
Midterm exam (25%): take-home exam on the theoretical readings of the course.
Final exam (35%): final paper based on a critical analysis of an exhibition visited during the course, according to the theoretical concepts studied in the readings. The instructor will help students in choosing the exhibition they will focus. Individual meetings to discuss and justify their choice, compilation of new sources as a complement of the course readings, etc. will take place. The essay presentation will have two stages: 1) hypothesis and bibliography. 2) final presentation.
Readings (20%): on-going theoretical readings will be assigned for group presentations.
Reports (10%): Students will write brief reports on visited exhibitions in a blog, which will be published for the whole IES Abroad community to see.
Class participation (10%): students are expected to maintain a high level of class participation.
content:
Session 1: Introduction of the artistic scene of Buenos Aires.
Readings:
Giunta, Andrea, ―Poscrisis. La escena de cambio cultural‖ y ―Glosario‖, en Poscrisis. Arte Argentino después de 2001. Buenos Aires, Siglo XXI Editores, 2009, pp. 25-70 y pp. 249-269.Dos
Session 2: Theoretical Framework I and Introduction to urban art
Readings:
Huyssen, Andreas, ―Escapar de la Amnesia: los Museos como Medio de Masas‖, en En Busca del Futuro Perdido. Cultura y Memoria en Tiempos de Globalización. México, Fondo de Cultura Económica, 2002, pp. 41-75.
García Canclini, Néstor, ―Museo‖ y ―Museo para la globalización‖, en Lectores, espectadores e internautas. Barcelona, Gedisa, 2007, pp.95-98 y pp. 98-108.
Guasch, Anna María (ed.), ―Prólogo‖ en Los manifiestos del arte posmoderno. Textos de exposiciones, 1980-1995. Madrid, Akal, 2000, pp. 5-10.
Curaduría: la definición de un nuevo campo profesional‖, en Ramona. Revista de Artes Visuales, n 29 -30, Buenos Aires (Enero-Febrero, 2003).
Session 3: Urban Art, The city as an exhibition area.
Guests: graffiti artists
Case study: Curatorial strategies for the exhibition of Ficus Repens Enamorados del muro (Palais de Glace, 2008)
Field study: Guided tour through the city
Readings:
Rabossi, Cecilia, ―Pirovano y el MAMBA en diálogo‖, El imaginario de Ignacio Pirovano. Buenos Aires, MAMBA, 2010, pp. 8-11.
González, Valeria, texto curatorial, en Narrativas inciertas. Buenos Aires, MAMBA, 2010, pp. 8-11-
Notas de prensa.
Session 4: Theoretical Framework II
Field Study: Exhibit Berni: narrativas argentinas - Museo Nacional de Bellas Artes
Readings:
Siracusano, Gabriela, ―Las artes plásticas en las décadas del ‘40 y ‗50‖, en, José Emilio Burucúa (dir.), Nueva historia argentina. Arte, sociedad y política. Buenos Aires, Sudamericana, 1999, pp. 13-56.
Session 5: Group discussion about the Berni exhibit.
Field Study: Colección Fortabat
Readings:
Plante, Isabel y Sebastián Vidal Mackinson, texto curatorial, en Panteón de los héroes. historias, próceres y otros en el arte contemporáneo. Buenos Aires, Fundación Osde, 2011.
Malosetti Costa, Laura, ―Arte e historia. Algunas reflexiones a propósito de la formación de las colecciones del Museo Histórico Nacional y del Museo Nacional de Bellas Artes en Buenos Aires‖, en Américo Castilla (comp.), El museo en escena. Buenos Aires, Paidós, 2010, pp. 71-88
Malosetti Costa, Laura, ―Poderes de la pintura en Latinoamérica‖, en: Eadem Utraque Europa. Revista de Historia Cultural e Intelectual, Año 2, Nro. 2, Buenos Aires, Miño Dávila – UNSAM, 2006. pp. 61-98.
Wechsler, Diana, texto curatorial, Fotografía documental y artes visuales de la argentina 1850-2010. Buenos Aires, Centro cultural Recoleta, 2011.
Session 6: Fieldtrip: Panteón de los héroes. Historias, próceres y otros en el arte contemporáneo.
Fundación Osde.
Session 7: Fieldtrip: Fotografía documental y artes visuales de la argentina 1850-2010. Centro cultural Recoleta.
Session 8: Paper assignment: Hypothesis and bibliography. Individual meetings.
Session 9: Telling a story: artists theme exhibitions
Special class: Perspective on Argentine contemporary photography. Lecturer: Mariela Delnegro (UBA)
Field Study: Las Pampas: Arte y Cultura en el Siglo XIX. Fundación PROA
Readings:
Heumann Gurian, Elaine. ―Eligiendo entre las opciones: una opinión sobre la definición de los museos‖. Mímeo.
Acha, Juan. El Consumo Artístico y sus Efectos. México, Trillas, 1988, Cap. 4.
Bourdieu, Pierre. ―Disposición estética y competencia artística‖, en Revista Lápiz, nº 166, Madrid, 2000.
La historia de los museos‖, en Joaquín Marco (dir.), Los museos en el mundo. Barcelona, Salvat, 1973, pp. 24-68.
Cousillas, Ana María, ―La percepción – interpretación del patrimonio cultural en el ámbito de los museos‖, Temas de patrimonio cultura, Comisión para la preservación del patrimonio histórico – cultural de la ciudad de Buenos Aires, 1997, pp. 13-21.
Session 10: Fieldtrip: Colección Fortabat
Session 11: Review.
Session 12: Pop art in Argentina
Field Study: Retrospectiva Marta Minujín. Malba – Museo de Arte Latinoamericano de Buenos Aires
Readings:
Delgado, Coral. ―Educación y museo‖, en Educación y ciudadanía: nuevos retos del museo. Caracas, Ediciones de la Universidad Simón Bolivar, 2005, pp. 45-62.
Castilla, Américo. ―¿Hay un curador acá? El criterio de autoridad en los museos. El caso Fortabat‖. Ponencia presentada en las 2das Jornadas sobre Exposiciones de arte argentino y latinoamericano. Curaduría, diseño y políticas culturales, Ciudad de Córdoba, septiembre 2010. Mímeo.
Session 13: Group discussion about the Minujin exhibit.
Readings:
Guía Museo Nacional de Bellas Artes. Buenos Aires: Asociación de Amigos del Museo Nacional de Bellas Artes, 2008, pp. 9-21.
Baldasarre, Marisa, ―Las culturas del coleccionismo‖, en Los dueños del arte. Buenos Aires, Edhasa, 2006, Cap. 3.
Session 14: Review, and Conclusion of semester
(Note: Professor reserves the right to change syllabi and readings as needed.)
De Micheli, Mario. Las vanguardias artísticas del S.XX. Madrid: Alianza Editorial, (1966) 2000.
Gombrich, E.H, La historia del arte (16° edición). Buenos Aires: Editorial Sudamericana, (1994) 1999.
Stangos, Nikos, Conceptos de arte moderno, Madrid: Alianza Forma, 1989.
Specific
Burucúa, José Emilio (dir.) Nueva historia argentina. Arte, sociedad y política, Buenos Aires: Sudamericana, 1999. Tomos I y II, caps. V, VI, VII, VIII
Maier, Gumier. Curadores. Entrevistas. Buenos Aires: Libros del Rojas, 2005.
Galesio, Florencia, María José Herrera, Valeria Keller, Mariana Rodríguez, ―El arte precolombino andino en el Museo Nacional de Bellas Artes‖ en Herrera, María José (ed) Exposiciones de arte argentino 1956-2006. Buenos Aires: Asociación de Amigos del Museo Nacional de Bellas Artes, Buenos Aires, 2009. Pp.201-209
―Curaduría: la definición de un nuevo campo profesional‖, en Ramona. Revista de Artes Visuales, n 29 -30, Buenos Aires (Enero-Febrero, 2003)
Giunta, Andrea. Poscrisis. Arte Argentino después de 2001. Buenos Aires: Siglo XXI, 2009. Pp. 71-97, Patrimonios. La emergencia de un nuevo mapa museográfico‖.
Castilla, Américo. Una política para los museos en la Argentina. Buenos Aires: Dirección de Patrimonio y Museos, Secretaría de Cultura de la Presidencia de la Nación, 2003.
Herrera, María José. ―En medio de los medios‖ en Premio Telefónica de Argentina a la Investigación en Historia de las Artes Plásticas. Buenos Aires: Telefónica de Argentina, FIAAR, 1997.
Isabel Plante is Ph.D. in Art History (Universidad de Buenos Aires) and researcher at the Instituto de Altos Estudios Sociales (IDAES) of Universidad Nacional de San Martín. She has coordinated developments of cultural affaires in Fundación Antorchas. She currently teaches ―Relatos curatoriales II‖ at the Universidad Nacional de Tres de Febrero. She has also published a number of papers about art history and twentieth century visual culture. She is also part of the editor committee of Blanco sobre blanco.
The aim of this course is to offer a perspective of the Argentine art scene by visiting museums and analyzing art exhibitions. Students—besides immersing themselves into the deep and wide cultural life of the city, and incorporating specific knowledge of argentine visual art—will be able to acquire concepts that will help them understand museums and exhibitions as complex communicational phenomena. The course is divided into three conceptual areas that will merge and combine with each other: The City as an Art Space; Collections in Exhibits and Telling a Story: Individual Artists and Theme Exhibits.
None.
By the end of the course, students are able to:
Classes will be theoretical and practical. Theoretical classes in the classroom, including image and video projections, will be combined with group visits to different exhibitions in the city. Students are expected to maintain a high level of participation throughout the course, analyzing and exchanging ideas about the main concepts and art pieces analyzed in class. Guest speakers will be invited throughout the course: Curators, exhibition designers, museum directors as well as other experts on Argentine art.
Midterm exam (25%): take-home exam on the theoretical readings of the course.
Final exam (35%): final paper based on a critical analysis of an exhibition visited during the course, according to the theoretical concepts studied in the readings. The instructor will help students in choosing the exhibition they will focus. Individual meetings to discuss and justify their choice, compilation of new sources as a complement of the course readings, etc. will take place. The essay presentation will have two stages: 1) hypothesis and bibliography. 2) final presentation.
Readings (20%): on-going theoretical readings will be assigned for group presentations.
Reports (10%): Students will write brief reports on visited exhibitions in a blog, which will be published for the whole IES Abroad community to see.
Class participation (10%): students are expected to maintain a high level of class participation.
Session 1: Introduction of the artistic scene of Buenos Aires.
Readings:
Session 2: Theoretical Framework I and Introduction to urban art
Readings:
Session 3: Urban Art, The city as an exhibition area.
Guests: graffiti artists
Case study: Curatorial strategies for the exhibition of Ficus Repens Enamorados del muro (Palais de Glace, 2008)
Field study: Guided tour through the city
Readings:
Session 4: Theoretical Framework II
Field Study: Exhibit Berni: narrativas argentinas - Museo Nacional de Bellas Artes
Readings:
Session 5: Group discussion about the Berni exhibit.
Field Study: Colección Fortabat
Readings:
Session 6: Fieldtrip: Panteón de los héroes. Historias, próceres y otros en el arte contemporáneo.
Fundación Osde.
Session 7: Fieldtrip: Fotografía documental y artes visuales de la argentina 1850-2010. Centro cultural Recoleta.
Session 8: Paper assignment: Hypothesis and bibliography. Individual meetings.
Session 9: Telling a story: artists theme exhibitions
Special class: Perspective on Argentine contemporary photography. Lecturer: Mariela Delnegro (UBA)
Field Study: Las Pampas: Arte y Cultura en el Siglo XIX. Fundación PROA
Readings:
Session 10: Fieldtrip: Colección Fortabat
Session 11: Review.
Session 12: Pop art in Argentina
Field Study: Retrospectiva Marta Minujín. Malba – Museo de Arte Latinoamericano de Buenos Aires
Readings:
Session 13: Group discussion about the Minujin exhibit.
Readings:
Session 14: Review, and Conclusion of semester
(Note: Professor reserves the right to change syllabi and readings as needed.)
General
Specific
Revista Ramona de Artes Visuales/Archivo
http://www.ramona.org.ar/
Centro Virtual de Arte Argentino
http://www.buenosaires.gov.ar/areas/cultura/arteargentino/inicio.php
Isabel Plante is Ph.D. in Art History (Universidad de Buenos Aires) and researcher at the Instituto de Altos Estudios Sociales (IDAES) of Universidad Nacional de San Martín. She has coordinated developments of cultural affaires in Fundación Antorchas. She currently teaches ―Relatos curatoriales II‖ at the Universidad Nacional de Tres de Febrero. She has also published a number of papers about art history and twentieth century visual culture. She is also part of the editor committee of Blanco sobre blanco.