Publication: Aproximación al papel de los museos en las relaciones contemporáneas entre la obra de arte y el público
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2018-06-04
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Abstract
Este trabajo pretende poner de manifiesto cómo el arte en los museos se ha convertido en un objeto cultural de consumo. Las hipótesis presentadas se ubican entre el arte como una víctima más de la industria del entretenimiento y el cambio de paradigma comunicacional de los museos de hoy. Asimismo, se revisa la interacción de tres componentes básicos—sociedad, arte y museo—entendiéndolos como un conjunto de fuerzas en constante tensión. Mientras que el sujeto contemporáneo cohabita en las dimensiones física y digital de un mundo regido por la hipervisibilidad, la imagen vacía y la búsqueda de experiencias vitales plenas, el museo es cómplice de dicha banalización, en tanto que es un agente que dirige las prácticas de ocio asociadas a la oferta artística y participa de forma activa en la relación con la sociedad y las obras de arte. A través de una revisión bibliográfica también se plantean las implicaciones de algunas perspectivas teóricas y se abren interrogantes acerca de las formas en que el público es parte de la institución museística, de la fetichización turística de la obra de arte y por último, el del papel y las funciones que ha de tener el museo en la actualidad.
This literature review intends to highlight how the exhibited art has become an object of cultural consumption. The hypothesis presented here are located in the intersection between art as fallen victim to entertainment industry and the paradigm shift in communication in museums nowadays. Likewise, the interaction between three basic components - society, art and museum - is revised, considering such components as a cluster of forces in constant tension with earch other. While the contemporany subject exists in both the physical and digital dimensions in a world ruled by hyper visibility, empty images and the longing for fulfilling life experiences; the museum, as an agent that directs the leisure related to the supply of artistic activities which engages actively with society and the works of art, is responsible for responding to this subject’s demand of trivialization. This review also introduces the implications of some theoretical perspectives and raises questions about the means by which the general public is a key part of the museums institutions, about the touristic fetishism of the work of art, and lastly, about the role and the purposes of the museums at the present time.
This literature review intends to highlight how the exhibited art has become an object of cultural consumption. The hypothesis presented here are located in the intersection between art as fallen victim to entertainment industry and the paradigm shift in communication in museums nowadays. Likewise, the interaction between three basic components - society, art and museum - is revised, considering such components as a cluster of forces in constant tension with earch other. While the contemporany subject exists in both the physical and digital dimensions in a world ruled by hyper visibility, empty images and the longing for fulfilling life experiences; the museum, as an agent that directs the leisure related to the supply of artistic activities which engages actively with society and the works of art, is responsible for responding to this subject’s demand of trivialization. This review also introduces the implications of some theoretical perspectives and raises questions about the means by which the general public is a key part of the museums institutions, about the touristic fetishism of the work of art, and lastly, about the role and the purposes of the museums at the present time.