没有格尔尼卡的毕加索墨西哥,1944 年

Ana Garduño
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引用次数: 0

摘要

通过对一个临时展览的分析,我们可以研究一个特定的项目是如何受到文化观念(这里也包括美学观念),尤其是文化政策,即博物馆实践以及社会文化和外交背景的影响,从而解释策展理念的实现和形态。1944 年,为了在墨西哥举办巴勃罗-毕加索(Pablo Picasso)个人作品展,成立了现代艺术协会(Society of Modern Art),这是一个效仿美国文化中介模式的私人组织。该基金会是两个强大机构(伊内斯-阿莫尔拥有的墨西哥艺术画廊和阿尔弗雷德-H-巴尔领导的现代艺术博物馆)双边资助的产物。由于第二次世界大战期间的政治局势,墨西哥和美国之间的联盟发挥了重要作用。基于对这一时期的档案文献和新闻报道的回顾,我试图重建管理这一临时展览的历史进程,将其理解为集体想象中政治权力的空间建构。由于《格尔尼卡》被排除在外,展览沦为了一场前卫艺术展,因而失去了反法西斯的政治意义。格尔尼卡》没有在墨西哥展出的原因包括美国的反共产主义、巴尔希望毕加索作品的造型价值引起反思并消除其政治反抗的潜力,以及西班牙共和党人内部斗争所造成的外部条件。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Picasso without Guernica: Mexico, 1944
The analysis of a temporary exhibition allows us to study how a particular project is inflected by cultural ideas (in this case also aesthetic ideas) and, above all, by cultural policies, i.e. museum practices and the socio-cultural and diplomatic contexts that explain the realization and morphology of a curatorial concept. In order to bring about an individual exhibition of exclusive works by Pablo Picasso in Mexico in 1944 a Society of Modern Art was founded, a private organization that copied the U.S. model of cultural mediation. This foundation was a product of bilateral financing by two powerful institutions, the Galería de Arte Mexicano owned by Inés Amor, and the MoMA, directed by Alfred H. Barr. Because of the political situation during the Second World War, the alliances between Mexico and the U.S. played a significant role. Based on a review of archival documentation and press articles of this period I attempt a reconstruction of the historical process of managing this temporary exhibition, understood as a spatial construction of political power in the collective imagination. This Mexican exhibition of works by an outstanding global artist has not been studied in terms of the messages and intentions conveyed by an ephemeral collection of objects that was deprived of its political anti-fascist dimension due to the exclusion of Guernica, which reduced it to an exhibition of avant-garde art. Guernica was not shown in Mexico for reasons that include U.S. anti-communism, Barr's desire to attract reflection towards the plastic values of Picasso's work and neutralize its potential for political resistance, and external conditions driven by internal struggles among Spanish Republicans.
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