Publication: Análisis de las exposiciones temporales del Museo Reina Sofía, 2000-2016, desde una perspectiva feminista
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2019-03-05
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Universidad Complutense de Madrid
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Abstract
El principal museo nacional de arte moderno y contemporáneo de España es el objeto de estudio de esta aportación a los estudios feministas sobre la historia del arte y la museología. La revisión de literatura constata una infrarrepresentación de artistas mujeres en el sistema del arte mundial. Para ampliar el conocimiento de la situación nacional en la era actual, el objetivo de este trabajo es formular un análisis feminista de las exposiciones temporales del Museo Nacional Centro de Arte Reina Sofía (MNCARS) de Madrid, durante el periodo 2000 y 2016, divido en su mitad por la creación en España de la llamada Ley de Igualdad.La hipótesis de partida es que las políticas expositivas del Museo Reina Sofía se verán modificadas tras la implantación de la Ley de Igualdad, que impone a las instituciones públicas nuevas obligaciones respecto a la representación de género. Para comprobar nuestra hipótesis, la investigación obtiene datos sobre la inclusión de artistas mujeres en las exposiciones temporales de este museo, y sobre los discursos transmitidos por la institución y sus representantes en la comunicación pública sobre las mismas. Comparando dos bloques de tiempo, se observa primero la historia expositiva de los ocho años anteriores a la entrada en vigor de la Ley de Igualdad en 2007, para contrastar los resultados con los nueve años siguientes...
Spain’s main national museum of Modern and Contemporary Art is the object of study of this contribution to the History of Art and Museum Studies from a feminist perspective.The literature review shows that the underrepresentation of women artists is prevalent to this day in the international art system. To broaden the knowledge on the national situation in present times, the purpose of this study is to formulate a feminist analysis of the exhibition history of Madrid’s Museo Nacional Centro de Arte Reina Sofía (MNCARS) in the years 2000-2016, a period divided in its midst by the creation in Spain of the so-called Equality Law.The hypothesis we posit is that the entrance into effect of this law on gender equality, which imposes new obligations on public institutions in matters of gender representation, will result in changes in the Reina Sofía Museum’s exhibition policy. To test our hypothesis, this research presents data on the inclusion of women artists in temporary exhibitions in this museum, and on the institutional discourse transmitted by the institution and its representatives in its public communication on these exhibitions. Comparing two adjoining blocks of time, this study observes the temporary exhibitions that opened in the eight years prior to the entrance into effect of the Equality Law in 2007, and contrasts the findings with those obtained from the subsequent nine years...
Spain’s main national museum of Modern and Contemporary Art is the object of study of this contribution to the History of Art and Museum Studies from a feminist perspective.The literature review shows that the underrepresentation of women artists is prevalent to this day in the international art system. To broaden the knowledge on the national situation in present times, the purpose of this study is to formulate a feminist analysis of the exhibition history of Madrid’s Museo Nacional Centro de Arte Reina Sofía (MNCARS) in the years 2000-2016, a period divided in its midst by the creation in Spain of the so-called Equality Law.The hypothesis we posit is that the entrance into effect of this law on gender equality, which imposes new obligations on public institutions in matters of gender representation, will result in changes in the Reina Sofía Museum’s exhibition policy. To test our hypothesis, this research presents data on the inclusion of women artists in temporary exhibitions in this museum, and on the institutional discourse transmitted by the institution and its representatives in its public communication on these exhibitions. Comparing two adjoining blocks of time, this study observes the temporary exhibitions that opened in the eight years prior to the entrance into effect of the Equality Law in 2007, and contrasts the findings with those obtained from the subsequent nine years...
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Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte, leída el 18/12/2018