Museos y jóvenes: entre la incomprensión y el desencanto. Percepciones y argumentos juveniles sobre el consumo cultural de museos en Chile

Young people are less explored in museum audience research; this is a paradoxical situation when considering its strategic location in the cultural reproduction and if considering the high performing cultural consumption compared with other sectors. The phenomenon of museums consumption by young Chileans who are self recognized as public and non-public museums is explored from a qualitative approach. It was conducted with focus groups in the three largest cities in Chile (Santiago, Valparaíso and Concepción). They identify the museum as a cultural institution in full force. However, in questioning museums activity youth reveal the specificity of their cultural matrix. This is referred to a social temporality based on the fragment, the discourse of familiarity, proximity and instead of breaking and critical. They claim a museum aesthetic / historical experience based on pleasure and enjoyment. An overview is proposed to further clarify the youth cultural consumption to characterize more precisely the place of the museum in the set, to design more effective policies museums.Los jóvenes son el público de museos menos explorado en los estudios sobre audiencias museales, situación paradójica al considerar su lugar estratégico en la reproducción cultural y el alto consumo cultural que emprenden en comparación con el resto de los sectores. El fenómeno del consumo de museos por jóvenes chilenos que se auto reconocen como público y no-público de museos se explora a partir de una aproximación cualitativa realizada con focus groups en las tres ciudades más grandes de Chile (Santiago, Valparaíso y Concepción). Entre las percepciones de los y las participantes se identifica la valoración del museo como institución cultural plenamente vigente, sin embargo en el cuestionamiento a la actividad de los museos los jóvenes revelan la especificidad de su matriz cultural, referida a una temporalidad social basada en el fragmento, el discurso de la familiaridad, proximidad y a la vez de la ruptura y crítica, y la experiencia estética/histórica museal basada en el placer y la fruición. Se propone una perspectiva general para avanzar en el esclarecimiento de los consumos culturales juveniles que permitan caracterizar de manera más precisa el lugar del museo y así diseñar políticas museales más eficaces

A cartografia bibliográfica e a memória emblemática Playa Ancha, Valparaíso

This study proposes an analysis for the study of the emblematic memory of the territory of Playa Ancha, Valparaiso, based on a located bibliographic review. Its main aim is to recognize the discourses that collaborated in the construction, articulation and crystallization of local social imaginary from its bibliographic production: recurrent themes, official discursive agents and dissidents, social practices, among others. This research puts in crisis the tendency of current bibliometric studies that had been dedicated mainly to the analysis of information for educational institutions or national scientific production, leaving behind such important aspects as space, time, place (Sousa-Santos, 1991) And their relationship with the day-to-day of the citizen. For to represent the results of the study, were used graphs and cartographics, highlighting the relationship between territory and bibliography.Este estudio propone un análisis para el estudio de la memoria emblemática del territorio de Playa Ancha, Valparaíso, basándose en una revisión bibliográfica situada. Su objetivo principal es reconocer los discursos que han colaborado en la construcción, articulación y cristalización del imaginario social de la localidad a partir de su producción bibliográfica: temáticas recurrentes, agentes discursivos oficiales y disidentes, prácticas sociales, entre otros. Esta investigación pone en crisis la tendencia de los estudios bibliométricos actuales que se han dedicado principalmente al análisis de información para entidades educacionales o de producción científica nacional, dejando atrás aspectos tan importantes como es el espacio, tiempo, lugar (Sousa-Santos, 1991) y su relación con el día a día del ciudadano. Para representar los resultados del estudio, se han utilizado gráficos y cartografías, destacando la relación entre territorio y bibliografía.Apresenta uma análise para o estudo da memória emblemática do território de Playa Ancha, Valparaíso, baseado na revisão bibliográfica situada. Seu objetivo principal é reconhecer os discursos que têm colaborado na construção, articulação e cristalização do imaginário social da localidade desde sua produção bibliográfica: temáticas recorrentes, agentes discursivos oficiais e dissidentes, práticas sociais, entre outros. Esta ipesquisa questiona a tendência dos estudos bibliométricos atuais enfocados principalmente na análise da informação para entidades educacionais ou de produção científica nacional, deixando aspectos importantes como é o espaço, tempo, lugar (Sousa-Santos, 1991) e sua relação com o dia a dia do cidadão. Para representar os resultados do estudo, foram usados gráficos e cartografias, destacando a relação entre território e bibliografia

Las islas en un museo del continente. Colonialidad e imágenes del archipiélago de Juan Fernández

The Juan Fernández Archipelago has been object of interest for the scientific, artistic, literary and museumlogical communities, originating from the continent epistemic programs and even cultural paradigms that form a system to think the insular geography, its temporalities and subjects. This article analyzes the images about Juan Fernández in the permanent exhibition of the Museum of Natural History of Valparaíso, as well as the engravings about these islands that are part of the museum’s collection. The insular visual narrative is inscribed in a model of representation of the materiality of insular spaces and the oceans as negative space around the continents. The insular narratives in their verb-visual relations, far from being peripheral in the processes of conformation and consolidation of nationalisms and the modern nation-state, play a significant role in the understanding of the formulation of national imaginaries.El Archipiélago de Juan Fernández ha sido objeto de interés para las comunidades científicas, artísticas, literarias y museológicas, originando desde el continente programas epistémicos e incluso paradigmas culturales que conforman un sistema para pensar la geografía insular, sus temporalidades y sujetos. En este artículo se analizan las imágenes sobre Juan Fernández de la exhibición permanente del Museo de Historia Natural de Valparaíso, así como las pinturas sobre estas islas que son parte de la colección del museo. La narrativa visual insular se inscribe en un modelo de representación de la materialidad de los espacios insulares y los océanos como espacio negativo alrededor de los continentes. Las narrativas insulares en sus relaciones verbovisuales, lejos de ser periféricas en los procesos de conformación y consolidación de los nacionalismos y el Estado-nación moderno, desempeñan un rol significativo en la comprensión de la formulación de IMAGINARIOS NACIONALES

Simbologia e iconografia vice-reinal. As apostas de Diego León Pinelo e Francisco De Ávila (Lima, século XVII)

En el Virreinato del Perú la emblemática funcionó como un sistema intertextual que establece conexiones entre modelos de emblemas ya consagrados y el uso compartido de símbolos, frases latinas y composiciones que dialogan, pero también se oponen y divergen de las tradiciones simbólicas occidentales. El Hypomnema apologeticum pro Academia Limensi, del jurista Diego León Pinelo (1608-1671), y el Tratado de los Evangelios, del extirpador de idolatrías y canónigo de la Catedral de Lima, Francisco de Ávila (1573- 1647), ambos publicados en Lima en 1648, poseen cada uno anteportadas que se analizan centrado en el conjunto visual conformado por imágenes alegóricas y emblemas y sus contextos de producción. La retórica visual virreinal revela que no solo se orientó a exaltar el poder y política monárquica y contrarreformista, sino también a desarrollar la afirmación identitaria de los autores contratantes de los grabados. Paradójicamente, ambas imágenes pueden ser vistas como un fracaso en distintos niveles, pero también como el triunfo en la lucha simbólica que implica toda afirmación identitaria que se realiza al quedar fijada en la memoria su retórica verbo-visual que no pocos podían descifrar.Emblematics in the Viceroyalty of Peru functioned as an intertextual system that established connections between models of emblems already consecrated and the shared use of symbols, Latin phrases and compositions that are related to —but also oppose and divert from— Western symbolic traditions. Hypomnema apologeticum pro Academia Limensi, by jurist Diego León Pinelo (1608-1671), and Tratado de los Evangelios, by the slayer of idolatries and Canon of the Cathedral of Lima, Francisco de Ávila (1573-1647), both published in Lima in 1648, had each front covers that are analyzed based on the visual set they incorporate, which is made up of allegorical images and emblems, and their contexts of production. The vice-regal visual rhetoric reveals that it was not only aimed at exalting monarchical and counter-reformist power and politics, but also at developing the identity of the artists in charge of the engravings. Paradoxically, both images can be considered as a failure on different levels, but also as a triumph within the symbolic struggle of every affirmation of identity whose verb-visual rhetoric remains fixed in memories that many people could decipher.No vice-reino do Peru, a emblemática funcionou como um sistema intertextual que estabelece conexões entre modelos de emblemas já consagrados e o uso compartilhado de símbolos, frases latinas e composições que dialogam e, ao mesmo tempo, se opõem e divergem das tradições simbólicas ocidentais. O Hypomnema apologeticum pro Academia Limensi, do jurista Diego León Pinelo (1608-1671), e o Tratado dos Evangelhos, do extirpador de idolatrias e cônego da Catedral de Lima, Francisco de Ávila (1573-1647), ambos publicados em Lima em 1648, possuem cada um contracapas que são analisadas com foco no conjunto visual conformado por imagens alegóricas e emblemas e seus contextos de produção. A retórica visual vice-reinal revela que não somente se orientou a exaltar o poder e a política monárquica e contrarreformista, mas também a desenvolver a afirmação identitária dos autores contratantes das gravuras. Paradoxalmente, ambas as imagens podem ser vistas como um fracasso em diferentes níveis e, paralelamente, como o triunfo na luta simbólica que implica toda afirmação identitária que se realiza ao ficar fixada na memória sua retórica verbo-visual que apenas poucos podiam decifrar

Esculturas africanas de Chile: lecturas de un patrimonio nacional en el escenario de la diferencia cultural

Since 1930 the Chilean sculptural heritage has a set of African sculptures that belonged to the avant-garde poet Vicente Huidobro. The foundational temporality of this heritage is examined, understood as the contexts of initial collection of the pieces within the framework of the European avant-gardes, the acquisition by the Chilean State and the first exhibition of the pieces by the National Museum of Fine Arts of Chile. The revision of this first temporality links the work and ideology of Huidobro with his sculptures and with the construction of knowledge and ideas about the cultural difference affirmed and expressed by state museums attuned to the legacy of European colonialism in Latin America and the emancipatory artistic and political movements, critical of Eurocentrism of the elites. This stage of the patrimonialization process of the African sculptures that finally became Chilean sculptural heritage, reveals the state museums as legitimate agents of the symbolic dispute for the construction of patrimonial sense around the cultural diversity. This challenge of the museums is relevant in the current Chilean context of the XXI century of intensification of the migratory flows that confront the Chilean society with itself before “the black”, “the afro”, “the other”

La cartografía bibliográfica y la memoria emblemática de Playa Ancha, Valparaíso

This study proposes an analysis for the study of the emblematic memory of the territory of Playa Ancha, Valparaiso, based on a located bibliographic review. Its main aim is to recognize the discourses that collaborated in the construction, articulation and crystallization of local social imaginary from its bibliographic production: recurrent themes, official discursive agents and dissidents, social practices, among others. This research puts in crisis the tendency of current bibliometric studies that had been dedicated mainly to the analysis of information for educational institutions or national scientific production, leaving behind such important aspects as space, time, place (Sousa-Santos, 1991) And their relationship with the day-to-day of the citizen. For to represent the results of the study, were used graphs and cartographics, highlighting the relationship between territory and bibliograph

Esculturas africanas de Chile: lecturas de un patrimonio nacional en el escenario de la diferencia cultural

Since 1930 the Chilean sculptural heritage has a set of African sculptures that belonged to the avant-garde poet Vicente Huidobro. The foundational temporality of this heritage is examined, understood as the contexts of initial collection of the pieces within the framework of the European avant-gardes, the acquisition by the Chilean State and the first exhibition of the pieces by the National Museum of Fine Arts of Chile. The revision of this first temporality links the work and ideology of Huidobro with his sculptures and with the construction of knowledge and ideas about the cultural difference affirmed and expressed by state museums attuned to the legacy of European colonialism in Latin America and the emancipatory artistic and political movements, critical of Eurocentrism of the elites. This stage of the patrimonialization process of the African sculptures that finally became Chilean sculptural heritage, reveals the state museums as legitimate agents of the symbolic dispute for the construction of patrimonial sense around the cultural diversity. This challenge of the museums is relevant in the current Chilean context of the XXI century of intensification of the migratory flows that confront the Chilean society with itself before “the black”, “the afro”, “the other”.El patrimonio escultórico chileno cuenta desde 1930 con un conjunto de esculturas africanas que pertenecieron al poeta vanguardista Vicente Huidobro. Se examina la temporalidad fundacional de este patrimonio, entendido como los con-textos de recolección inicial de las piezas en el marco de las vanguardias europeas, la adquisición por el Estado chileno y primera exposición de las piezas por el Museo Nacional de Bellas Artes de Chile. La mirada sobre esta primera temporalidad enla-za la obra e ideario de Huidobro con sus esculturas y con la construcción de cono-cimiento e ideas sobre la diferencia cultural que afirmaron y expresaron los museos estatales sintonizados con el legado del colonialismo europeo en Latinoamérica y los movimientos artísticos y políticos emancipadores, críticos del eurocentrismo de las elites. Esta etapa del proceso de patrimonialización de las esculturas africanas que finalmente devinieron en patrimonio escultórico chileno, revela a los museos estatales como agentes legítimos de la disputa simbólica por la construcción de sentido patri-monial en torno a la diversidad cultural. Este desafío de los museos es relevante en el contexto chileno actual del siglo XXI de intensificación de los flujos migratorios que confrontan a la sociedad chilena consigo misma ante “lo negro”, “lo afro”, “lo otro”

Plans and activities of communication professionals in Chilean museums. Problems and perspectives

The concept of museum communication is examined from the perspective of the professionals in charge of this task, characterizing the practical circumstances, perceptions, and specifics of the communication area. Through a series of interviews with managers of a group of Chilean museums, we identified elements to consider and problems that often affect museum communications in general, despite the diversity of these institutions. In the museums examined, we observed different ways of understanding the concept of communication. Such differences are linked to geographical location, ownership or affiliation, as well as other dimensions of the museum such as mission, objectives of the institution, and the communications vision

Accesibilidad, integración y participación en Bibliotecas y Museos: Apuntes para abordar la cuestión de género

The democratization and the acces to the info. in libraries and museums shows a concern about the exclusions and marginalizations in the modern society. Librarues and museums can be senn as devices of control and acces to the information, as well as the ideolgy, markets for gender speeches, manly androcentrics or virilocentrics, as both institutions reflect aspects of the own social organization and of gender in which they build- This condition shared between libraries and museums, whith the identification od the atributions and actions od the three implied social agents ( State, academy and social movements)

Museums and youth: between misunderstanding and disappointment. Youth perceptions and arguments about the cultural consumption of museums in Chile

Young people are less explored in museum audience research; this is a paradoxical situation when considering its strategic location in the cultural reproduction and if considering the high performing cultural consumption compared with other sectors. The phenomenon of museums consumption by young Chileans who are self recognized as public and non-public museums is explored from a qualitative approach. It was conducted with focus groups in the three largest cities in Chile (Santiago, Valparaíso and Concepción). They identify the museum as a cultural institution in full force. However, in questioning museums activity youth reveal the specificity of their cultural matrix. This is referred to a social temporality based on the fragment, the discourse of familiarity, proximity and instead of breaking and critical. They claim a museum aesthetic / historical experience based on pleasure and enjoyment. An overview is proposed to further clarify the youth cultural consumption to characterize more precisely the place of the museum in the set, to design more effective policies museums.</p