Publication: No todos los mundos soñados son los mismos. Relaciones entre los públicos y los actores de las salas de exposiciones
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2014-06-04
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Universidad Complutense de Madrid
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Abstract
Visitar una exposición de arte, entendida como un sistema de comunicación, de recepción de ideas y emociones, implica diversos particularidades: un mínimo de interés por parte de los visitantes de museos, el deseo del “creador” para plantearla, producirla y hacerla realidad, así como la intención y el tipo de aproximación al público –un contacto sereno y clásico o que busque desencajar. El modelo de comunicación en el círculo del arte, con el tiempo, ha experimentado modificaciones en algunos de sus roles tradicionales: artistas, comisarios, críticos, museos, centros de arte y público; y así, en las relaciones entre ellos. Los roles de mayor transformación han sido el comisario de arte contemporáneo, mudando de comisario como cuidador a comisario como autor - como señala Paul O’Neill-, y el público por su parte, evolucionando de contemplativo a reflexivo; por lo que la complejidad que cada vez más van contrayendo las exposiciones de arte contemporáneo invitan a cuestionarse: ¿Qué objetivos se quieren transmitir con la exposición (y quién determina el mensaje)? ¿a quién o a quiénes? ¿Cuáles son las demandas e intereses de los colectivos a los que se va a dirigir? Y finalmente: ¿Realmente interesa saber lo que siente y capta el público? Para responder otras preguntas de carácter más genérico y persiguiendo confirmar el éxito o no de una exposición, hasta ahora se han empleado los “estudios de público”; éstos, que se caracterizan por enfocarse en categorizar al público que visita los museos, en realizar el seguimiento de los procesos y etapas de desarrollo de las exposiciones, así como encauzarse al marketing. Es el momento en el que convendría replantearse los “estudios de público” para conocer un poco más en profundidad la eficacia social de las exposiciones, estudiando tanto al público visitante –con otros intereses- como a los comisarios de arte. Se asume como emisor formal, en el esquema de comunicación, al comisario de arte contemporáneo, ya que en los últimos años éste ha ido cobrando en el sistema del arte un importante protagonismo en relación a los demás actores, no sólo por ser el coordinador de relevantes encuentros de arte, sino también por ser el generador del discurso expositivo (mensaje) de una exhibición; entonces ¿existe esa relación/conexión entre el comisario de una exposición de arte y el visitante? Entre los objetivos que se plantean en No todos los mundos soñados son los mismos está el analizar el paso (comprensión y emoción) existente entre una exposición de arte y sus visitantes, así como contrastar factores (intencionalidad y concepto) considerados por el comisario para establecer una comunicación con los visitantes de la exposición...
Visiting an art exhibition, understood as a communication system of ideas and emotions, involves several peculiarities: a minimum of interest on the part of museum visitors, the desire of the “creator” to propose it, produce it and make it a reality, as well as the intention and the kind of approach to the visitors –a serene, classic connection, or one that seeks bewilderment. Over time, the communication model in the art circle has undergone changes in some of their traditional roles: artists, curators, critics, museums, art centres, visitors, and the relations between them. The roles that have experienced major changes are the curator of contemporary art, who goes from curator-as-carer to curator-as-author- as Paul O'Neill says–, and the visitor, who goes from being contemplative to a reflexive behaviour. Therefore, the increasing complexity of contemporary art exhibitions invites us to ask the following: What goals do we want to transmit through the exhibition? (And who determines the message?) To whom? What are the demands and interests of the groups that are to be taken care of? And finally: does it really matter what the visitor feels and understands? To answer other questions of a more general nature and to pursue the confirmation of the success or otherwise of an exhibition, we have used the “visitor studies”, which are characterised by a focus on categorising the groups that visits museums, following up the processes and stages of the development of the exhibitions, as well as on marketing. The moment has come to reconsider “visitor studies” to go more deeply into the social effectiveness of exhibitions, studying both visitors –who have other interests– and the curators. The curator of contemporary art is the formal addresser in the communication scheme, as in recent years they have gained in the art system an important role in relation to other actors, not only for being the coordinator of relevant art events, but also for being the generator of the expository discourse (message) of an exhibition. Then, is there such a relationship/connection between the curator of an art exhibition and the visitor? One of the objectives considered in No todos los mundos soñados son los mismos is to analyse the connection (understanding and emotion) between an art exhibition and its visitors, as well as to contrast factors (intent and concept) considered by the curator to establish communication with the visitors of the exhibition; whereas the proposed core hypotheses refer to the interest of museums to establish a closer relationship with the visitor by understanding the message the curator wishes to convey, as well as being aware of the self-definition of visitors as target and non-target groups...
Visiting an art exhibition, understood as a communication system of ideas and emotions, involves several peculiarities: a minimum of interest on the part of museum visitors, the desire of the “creator” to propose it, produce it and make it a reality, as well as the intention and the kind of approach to the visitors –a serene, classic connection, or one that seeks bewilderment. Over time, the communication model in the art circle has undergone changes in some of their traditional roles: artists, curators, critics, museums, art centres, visitors, and the relations between them. The roles that have experienced major changes are the curator of contemporary art, who goes from curator-as-carer to curator-as-author- as Paul O'Neill says–, and the visitor, who goes from being contemplative to a reflexive behaviour. Therefore, the increasing complexity of contemporary art exhibitions invites us to ask the following: What goals do we want to transmit through the exhibition? (And who determines the message?) To whom? What are the demands and interests of the groups that are to be taken care of? And finally: does it really matter what the visitor feels and understands? To answer other questions of a more general nature and to pursue the confirmation of the success or otherwise of an exhibition, we have used the “visitor studies”, which are characterised by a focus on categorising the groups that visits museums, following up the processes and stages of the development of the exhibitions, as well as on marketing. The moment has come to reconsider “visitor studies” to go more deeply into the social effectiveness of exhibitions, studying both visitors –who have other interests– and the curators. The curator of contemporary art is the formal addresser in the communication scheme, as in recent years they have gained in the art system an important role in relation to other actors, not only for being the coordinator of relevant art events, but also for being the generator of the expository discourse (message) of an exhibition. Then, is there such a relationship/connection between the curator of an art exhibition and the visitor? One of the objectives considered in No todos los mundos soñados son los mismos is to analyse the connection (understanding and emotion) between an art exhibition and its visitors, as well as to contrast factors (intent and concept) considered by the curator to establish communication with the visitors of the exhibition; whereas the proposed core hypotheses refer to the interest of museums to establish a closer relationship with the visitor by understanding the message the curator wishes to convey, as well as being aware of the self-definition of visitors as target and non-target groups...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad II, leída el 28/03/2014