Museu, exposições e curadorias: a geopolítica da Fundação Iberê Camargo

Abstract

This research discusses the contemporary art field, analyzing, in the post-modern and late capitalism (Fredric Jameson, Jürgen Habermas, Manuel Castells, Zygmunt Bauman), the formation of a geopolitical in curatorial project by Iberê Camargo Foundation (FIC). The focus on the curatorial exhibition takes place through the establishment of a representative of the institution operating in the artistic field of Rio Grande do Sul, proposing a reflection on the network of museums, collections, curator and other staff in the modes of mediation processes in art cultural globalization. With the theoretical situated in the art field (Pierre Bourdieu) and sociology of mediation (Nathalie Heinich), we start from the idea that curatorship, provided a field agent relational and hierarchical structured positions, establishes a mediation art that tells what's between work and reception. Already with the theories of post-colonialism (Renato Ortiz, Nestor Canclini, Gerardo Mosquera) and the end of art history (Hans Belting), examines the curatorial project of the FIC because of the relationships and institutional placements between center and periphery in uneven processes of globalization. For the case study, delimited to the exhibitions from 2008, with the inauguration of the museum of FIC, to 2012. Initially, the process runs elapsed since 1995, so situate institutionalization in the context of the capitalization of culture and review the status of museums. The methodology is based on exploratory and descriptive study, using various textual sources, including books, catalogs, articles and academic papers, and field research, interviews and survey data from the primary sources. The observations and analyzes seek to examine the curatorial exhibitions as devices that operate in setting up an institutional determined by geopolitical tensions and inequalities of power. Among the results, it was concluded that, although the FIC has management and propose their own projects on display and these are determined by supply and is available as relations placements of agents, relations and symbolic by its own rules governing the operation of artistic field. In addition, this research throws questions about the complex relationships between institutions, artists, public market, curatorship, and critical historiography.