Amanda de la Garza: “Museums must take risks and have the vocation to transform” | EUROtoday

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Without ever abandoning the smile, nor the laughter in relation to it, the Mexican Amanda de la Garza (Monclova, Coahuila, 42 years outdated) follows a dialog that goes from her nation to Spain, from New York to Africa, from Latin America to the East Next, the identical trajectory of latest artwork and the route that the programming of the Reina Sofía in Madrid will most likely comply with, the place she is going to function deputy inventive director beginning in April. She is supported by her 12 years on the helm of the University Museum of Contemporary Art in Mexico City, the well-known MUAC, a benchmark within the area. Art historian, sociologist and anthropologist, De la Garza humorously admits that the big mural of the Guernica which is now exhibited on the MUAC, reinterpreted by the Colombian painter Beatriz González, “was premonitory” of its departure to the museum that homes Picasso's masterpiece, an icon of world trendy artwork.

Ask. Besides of Guernica What are the strengths of the Reina Sofía?

Answer. Something elementary for a public museum, which isn’t solely an exhibition place, with essential references, but additionally thinks by way of its place and its social position, the set of educational applications, the documentation middle… The considered what What a museum can do in social phrases is one thing very notable concerning the Reina, and Manuel Segade [el director] He needs that horizon for the museum.

P. What will your contribution be?

R. My imaginative and prescient from my coaching and the way I see the event of the regional and international artwork scene. But additionally the way in which through which I think about that management must be developed in establishments, I’m a part of a generational change, I feel {that a} administration place should work with groups in a horizontal method. The gender half is vital to me, how feminism has raised energy relations and what energy means and the way we work together with one another.

P. Should the Reina Sofía and its relationship with Latin America be raised as references within the decolonization through which many museums are embarking?

R. Yes, it already is, it has a management place. Also the Tate Modern, by way of acquisitions of Latin artwork, however in addition they take into consideration the connection with Africa and migrations to Europe.

P. What can Latin America now switch to the Reina?

R. On the one hand, artists, there’s a nice range of practices and lots of creators additionally work internationally, inventive circuits are international and of fixed change. The Reina additionally has the position of selling this dialogue with establishments in Latin America and establishing contacts in order that these exhibitions and collections may also be seen in Mexico, in Latin America. Institutions and museums are shifting in the direction of that horizon, rethinking themselves by way of their historical past, colonial historical past.

P. And Africa?

R. There is a related inventive manufacturing that has been mirrored within the modern artwork circuits, there may be the Zeitz MOCAA, in South Africa, the Raw Material Company, in Senegal, institutional and unbiased initiatives and the complete diaspora, migrants in Europe. There is a crucial dialog concerning the repatriation of cultural objects or cultural artifacts. Some museums within the United States and Europe have begun this course of to return them.

P. Migration is mentioned so much in museums, however artists from these locations aren’t taken under consideration as a lot.

R. That's proper, the presence of latest artists who come from completely different areas, Latin America or Africa or the Middle East, is vital. We are afraid to rethink the place we construct the inventive canon from. Sometimes there may be additionally the concept a creator who comes from a sure area can solely discuss sure matters, nor can the inventive manufacturing of sure areas be pigeonholed as restricted to a context or that the demand must be for politicized artwork.

P. The phrase canon refers to antiquity. What is the canon of latest artwork?

R. There are establishments that set up referential positions, what they exhibit reveals the way in which. They are situations that characterize the definition of latest artwork, and are predominantly within the United States and Europe. The MoMA, the Tate, the Reina Sofía too, or the Rijksmuseum.

P. Now he leaves the MUAC to go to the Reina. And once you develop up, what would you love to do?

R. [Ríe con ganas] Possibly, I’ll return to Mexico and dedicate myself to writing, which I by no means developed in skilled phrases, however at one other time I used to be intently linked to the world of literature, of poetry.

P. ¿And run the MoMA?

R. The alternatives in my life haven’t been a operate of ambition for a better place, however of curiosity, of discovering a spot to do one thing, most likely after working in such massive establishments what I would like is to dedicate myself to a small museum…

P. Women's issues…

R. Ha ha ha, no, it's true, higher flexibility, a better relationship with the staff, that scale can be fascinating and precious, not all the things has to go additional.

P. Like textiles and embroidery, museums now dedicate area to what critics name “little papers,” paperwork from the archives that inform tales. Isn't it an extreme mental demand for individuals who solely search aesthetic enjoyment?

R. Museums have an excellent range of audiences, and programming is constructed primarily based on them. The query is: if one thing extra specialised doesn’t occur in museums, the place might it occur? There are merchandise that aren’t instantly digestible, however the opacity of the artwork or doc can be vital for it to have an area within the social creativeness. The concept that all the things must be instantly accessible eliminates complexity in social relationships, however historical past is complicated and filled with intricacies.

P. The social and political dimension earns criticism, which you’ll name dialogue.

R. All public establishments are topic to public scrutiny, museums too. Subject to specialised criticism and that of the general public, it’s a pure train. I imagine that museums, establishments, should take sure dangers, and have the vocation to rework sure views on artwork, on manufacturing, revisions, not simply the duty of normalizing what’s already accepted.

P. And is that this intention to interrupt coming from the social and political sphere?

R. To a big extent, social actions, feminism, anti-racist, anti-colonial, migration, have imposed duties for establishments, there are actual social calls for expressed overtly, and exhibitions have sought to answer them. He Black Lives Matter [la vida de los negros importan] has imposed a political social agenda on museums, the inclusion of African-American artists, even that there are jobs that need to do with range inside museums.

P. Is society extra open?

R. It is extra open and it isn’t, there may be additionally a regression that’s legally seen in lots of international locations; politically, of battle, censorship, exclusion, many edges, and establishments turn out to be much less dangerous.

P. How has artwork consumption modified?

R. There is a earlier than and after of the pandemic. Telephones, social networks, know-how have modified cultural consumption internationally, museums have made an arduous effort to regain audiences. Consumption for sure generations could be very centered on entry by way of a cell phone, it’s a very completely different expertise from in-person.

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