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1976) is a historian of art from the University of La Plata (Argentina). She earned her master degree in history and theory of art, architecture and city at the National University of Colombia. Recently, she achieved her PhD on Philosophy at the University of Paris VIII Vincennes-Saint Denis. Whit unanimity from the jury she obtained a cum-lauden dissertation, entitled “Boîte en valise ou de l’histoire de l’art latinoamericain en reproduction”. On that research Ms. García took into account a group of books and publications about Latin American history of art, between the second half and the twenty century. In a dialogue with philosophy, the research addresses historiography of art from a critical perspective. <br />Over the last years she has been engaged on researches and academic works focused on: forms of writing history of art in Latin American, discourse strategies in the history of art, and, finally, the theoretical and historical problems about the disciplinary discourses. In an institutional context, she works at the School of Fine Arts at the National University of<br />Colombia as a professor of undergraduate courses and as director of postgraduate seminars that provide a space of academic issues where students and young researchers are invited to take part on discussions about history of art. As a member of the research group “Monad. History, historiography and critics of arts: Colombia and Latin American”, Maria Soledad supports the development of a key component of the group regarding historiography of art in Colombia and its cultural divulgation. Belonging to that body of research, she coordinates the project: “The history in the history of art: divulgation and consolidation of the practice in history of art in Colombia through Salvat Encyclopedic of Colombian Art (1975-1981)”. In addition to that, Soledad García takes an active part in projects of cultural divulgation and curatorial initiatives.<br /><span class="u-fw700">Phone: </span>+5713165000<br /><b>Address: </b>Carrera 30 No. 45-03, FACULTAD DE ARTES. Edificio SINDU <br />Teléfono: 57 (1) (316 5000)  extensión 12274, Telefax: 57 (1) 316 50 33<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://uow.academia.edu/DanielDHutto"><img class="profile-avatar u-positionAbsolute" alt="Daniel D. 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Maidana</h3></div><div class="js-work-strip profile--work_container" data-work-id="111533073"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/111533073/XXXIX_Coloquio_Internacional_de_Historia_del_Arte"><img alt="Research paper thumbnail of XXXIX Coloquio Internacional de Historia del Arte" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/111533073/XXXIX_Coloquio_Internacional_de_Historia_del_Arte">XXXIX Coloquio Internacional de Historia del Arte</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="111533073"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="111533073"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 111533073; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=111533073]").text(description); $(".js-view-count[data-work-id=111533073]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x 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data-work-id="77272272"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/77272272/Boite_en_valise_ou_de_lhistoire_de_lart_latino_am%C3%A9ricain_en_r%C3%A9production"><img alt="Research paper thumbnail of Boite-en-valise ou de l'histoire de l'art latino-américain en réproduction" class="work-thumbnail" src="https://attachments.academia-assets.com/84697664/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/77272272/Boite_en_valise_ou_de_lhistoire_de_lart_latino_am%C3%A9ricain_en_r%C3%A9production">Boite-en-valise ou de l'histoire de l'art latino-américain en réproduction</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ce travail part d'une incommodité et d'une maladresse : en tant qu'historienne d'art, j'avais ces...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ce travail part d'une incommodité et d'une maladresse : en tant qu'historienne d'art, j'avais cessé toute lecture et recherche dans les livres d'histoire de l'art. Cela peut-être tout à fait anecdotique si le questionnement ne survient pas : pourquoi cette interruption dans la progression d'une lecture ? Pourquoi cet éloignement grandissant d'une pratique disciplinaire ? Pour y répondre, il a fallu que je revienne à la lecture pour redessiner mon cheminement dans une pratique tout autre qu'une connaissance spécifique de l'objet artistique. Il m'a fallu traverser des sentiers foncièrement hétérogènes pour y déblayer la certitude disciplinaire. Bref, il a fallu me poser la question sur la potentialité du visible sur le lisible. Le résultat de ce parcours aboutit à une réflexion au croisement disciplinaire entre la philosophie et l'histoire de l'art, où la 'pratique disciplinaire' est interpellée puis mise en suspens. L'objet composé est peut-être le meilleur développement dans ce parcours. En ce sens, il répète le mouvement même de disjonction qui sillonne le travail de lecture puis d'écriture. Il jaillit l'incertitude depuis laquelle je recommence, encore une fois, la lecture. Aucun travail n'avance sans avoir un défi, sans être poussé et interpellé par les questionnements d'autrui : je remercie ma directrice Mme Antonia Birnbaum qui, par son exigence et l'intérêt qu'elle porta à mon sujet, m'a encouragée à traverser ces sentiers hétérogènes. Aucun travail ne peut s'écrire dans la solitude, et c'est d'autant plus vrai lorsqu'il est rédigé dans une autre langue : je remercie vivement toutes les heures de travail, de lecture, de commentaires que Nicole Lievin-Delsarte m'a offert de façon généreuse ; à travers elle, je remercie le travail engagé par tous les bénévoles du CISED. Pour accomplir une thèse, il faut avoir le soutien, la patience, l'amour et la solidarité de tous ses amis-famille : Paulette, Camille, Mabel, Angelica, Ricardo, Céline, Alexandra, Sophie et bien évidemment, je remercie tout particulièrement Antonio mon compagnon de tous les chemins. Quelque chose de neuf, de vieux et de volé : l'art latino-américain dans deux textes de Juan Acha.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70c9878e6a4421d08a45e5d6f68f9855" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":84697664,"asset_id":77272272,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/84697664/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="77272272"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="77272272"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77272272; 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El arte, el museo y sus historias</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="77272271"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="77272271"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77272271; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=77272271]").text(description); $(".js-view-count[data-work-id=77272271]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 77272271; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='77272271']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=77272271]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":77272271,"title":"Hojear y mirar: la historia del arte leída","internal_url":"https://www.academia.edu/77272271/Hojear_y_mirar_la_historia_del_arte_le%C3%ADda","owner_id":1886013,"coauthors_can_edit":true,"owner":{"id":1886013,"first_name":"Maria Soledad","middle_initials":null,"last_name":"Garcia Maidana","page_name":"mariasoledadgarciamaidana","domain_name":"unal-co","created_at":"2012-06-04T19:34:37.689-07:00","display_name":"Maria Soledad Garcia Maidana","url":"https://unal-co.academia.edu/mariasoledadgarciamaidana"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="77271861"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/77271861/Procesos_contempor%C3%A1neos_de_investigaci%C3%B3n_en_historia_y_teor%C3%ADa_del_arte"><img alt="Research paper thumbnail of Procesos contemporáneos de investigación en historia y teoría del arte" class="work-thumbnail" src="https://attachments.academia-assets.com/84678956/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/77271861/Procesos_contempor%C3%A1neos_de_investigaci%C3%B3n_en_historia_y_teor%C3%ADa_del_arte">Procesos contemporáneos de investigación en historia y teoría del arte</a></div><div class="wp-workCard_item"><span>Ensayos: Historia y Teoría del Arte</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo se realiza un recorrido de las propuestas, apuestas y debates en torno a la hist...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo se realiza un recorrido de las propuestas, apuestas y debates en torno a la historia del arte desde finales de siglo XX hasta la primera década del presente siglo. El objetivo es presentar un panorama amplio de las discusiones y posiciones que desde la teoría, la crítica y la filosofía han cuestionado y revisado la práctica de la historia del arte. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39319688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39319688/Montaje_e_interrupci%C3%B3n_el_movimiento_de_la_escritura_en_la_historia_del_arte_en_Am%C3%A9rica_Latina"><img alt="Research paper thumbnail of Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Latina" class="work-thumbnail" src="https://attachments.academia-assets.com/59458496/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39319688/Montaje_e_interrupci%C3%B3n_el_movimiento_de_la_escritura_en_la_historia_del_arte_en_Am%C3%A9rica_Latina">Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Latina</a></div><div class="wp-workCard_item"><span>Continuo/discontinuo. Los dilemas de la historia del arte en América Latina</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En “Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Lati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En “Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Latina” María Soledad García Maidana considera algunas herramientas conceptuales en la construcción del discurso del historiador y en esta tónica plantea que la historiografía del arte en América Latina oscila entre tensiones y oposiciones. Entre éstas detecta el modelo del internacionalismo o del afán de la “actualidad” europea o del dictado estadounidense, y el modelo del nacionalismo o de una emancipadora búsqueda de lo autóctono o lo excepcional. A partir de esta figura ficcional de tensión binaria lineal, García Maidana identifica que en el interior de cada polo hay otras tensiones entre el presente de la tarea del historiador y el pasado que intenta reconstruirse, en lo particular entre la relación del historiador con sus objetos de estudio: documentos, fuentes, obras.<br />Retomando ideas de Certeau y Benjamin, entre otros, la autora apunta que en la construcción del progreso de la historia salen a relucir el positivismo y las continuidades, así como discontinuidades, rupturas, interrupciones e inestabilidades, fragmentos y montajes. Para ella el montaje constituye un camino para resarcir el valor de los fragmentos y construir mediante las interrupciones sucesivas que hay en cualquier relato.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="aadc3bc938b3c579fcc693395c4e2281" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458496,"asset_id":39319688,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458496/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319688"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319688"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319688; 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De aquel evento tenemos pocos registros que nos permitan echar una mirada: un austero catálogo, las referencias esquivas de comentaristas y de historiadores y un puñado de recortes de prensa. “Próceres y Batallas”, como se llamó la muestra, se sitúa en un enclave paradójico tanto exposición conmemorativa de los Festejos Patrios, tanto evento “prospectivo” de la historia del arte nacional de Colombia. Sobre este enclave paradójico desarrollaré las siguientes anotaciones en torno al museo y la escritura de la historia del arte, dividiendo mi intervención en tres partes. En primer lugar abordaré de manera un tanto general la exposición como evento conmemorativo; en segundo lugar, deslizaré algunas anotaciones sobre aquello que Michel De Certeau llamó “las operaciones historiográficas” puntualizando, cada vez, sobre la singularidad de la exposición en el panorama de la historia del arte nacional hacia finales del siglo XX; finalmente y en tercer lugar, quiero poder mostrar el fuerte vínculo entre producción de discurso disciplinar y la divulgación cultural; en otras palabras y para ser más precisa en la idea rectora se tratará de mostrar (el vínculo visual es importante en este enunciado) que en el caso del arte colombiano la instancia de divulgación constituye el lugar de configuración disciplinar para la historia del arte en el último cuarto del siglo pasado.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="010b98790b1497236d961a38851476bb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54796331,"asset_id":34934748,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54796331/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34934748"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34934748"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34934748; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Books" id="Books"><h3 class="profile--tab_heading_container">Books by Maria Soledad Garcia Maidana</h3></div><div class="js-work-strip profile--work_container" data-work-id="62196168"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/62196168/El_museo_efimero_del_olvido_en_la_Universidad_Nacional_de_Colombia"><img alt="Research paper thumbnail of El museo efimero del olvido en la Universidad Nacional de Colombia" class="work-thumbnail" src="https://attachments.academia-assets.com/75029401/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/62196168/El_museo_efimero_del_olvido_en_la_Universidad_Nacional_de_Colombia">El museo efimero del olvido en la Universidad Nacional de Colombia</a></div><div class="wp-workCard_item"><span>El museo efimero del olvido en la Universidad Nacional de Colombia</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Proyectos y artistas participantes Promesas de desarrollo: La Ruta del Sol / Ximena Díaz; Tres pi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Proyectos y artistas participantes Promesas de desarrollo: La Ruta del Sol / Ximena Díaz; Tres pilares para la utopía / Gonzalo Angarita; De paso (venir abajo) / Laura Peña; Guasca / Luis Roldán; Ciudad futura / Jaime Iregui; SICORP: sistema complementario de rieles público /</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb2c04bc19a75cbf58229be50de27afe" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75029401,"asset_id":62196168,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75029401/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="62196168"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="62196168"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62196168; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39319563"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39319563/museo_ef%C3%ADmero_del_olvido"><img alt="Research paper thumbnail of museo efímero del olvido" class="work-thumbnail" src="https://attachments.academia-assets.com/59458361/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39319563/museo_ef%C3%ADmero_del_olvido">museo efímero del olvido</a></div><div class="wp-workCard_item"><span>Catálogo 15 SRA -Salon Regional de Artistas- Zona Centro</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Los Salones Regionales de Artistas se erigen como uno de los programas de mayor relevancia dentro...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Los Salones Regionales de Artistas se erigen como uno de los programas de mayor relevancia dentro de la activación del campo artístico en todas las regiones de Colombia, por lo que se han convertido en un recurso para representar y recrear las culturas regionales, promover la descentralización y hacer visible la diversidad cultural que caracteriza al país. <br /><br />Esta nueva edición que inicia hoy 15 de mayo en la ciudad de Bucaramanga, empezó a construirse en 2014 cuando el Ministerio de Cultura, dentro del Programa Nacional de Estímulos, lanzó dos convocatorias para la realización de 15 SRA. La primera de estas, tuvo como objetivo la realización de diez exposiciones individuales en las siete regiones del país que se presentaron a lo largo del segundo semestre del año pasado.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f1ff1967dd6b4dae02367f0d8b7d0d2b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458361,"asset_id":39319563,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458361/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319563"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319563"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319563; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Thesis Chapters" id="Thesis Chapters"><h3 class="profile--tab_heading_container">Thesis Chapters by Maria Soledad Garcia Maidana</h3></div><div class="js-work-strip profile--work_container" data-work-id="39319520"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39319520/Relaciones_de_lectura"><img alt="Research paper thumbnail of Relaciones de lectura" class="work-thumbnail" src="https://attachments.academia-assets.com/59458321/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39319520/Relaciones_de_lectura">Relaciones de lectura</a></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ca6898562573fec2d6e1991c57d46b17" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458321,"asset_id":39319520,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458321/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319520"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319520"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319520; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39319656"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39319656/BOITE_EN_VALISE"><img alt="Research paper thumbnail of BOITE EN VALISE" class="work-thumbnail" src="https://attachments.academia-assets.com/59458462/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39319656/BOITE_EN_VALISE">BOITE EN VALISE</a></div><div class="wp-workCard_item"><span>Boite en valise oú l'histoire de l'art latinoamericaine en réproduction</span><span>, 2015</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Semblable à un véritable musée portable, cette ‘boîte en valise’ découpe des figurines, morcelle ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Semblable à un véritable musée portable, cette ‘boîte en valise’<br />découpe des figurines, morcelle les lectures, arrache des pages entières<br />d’une histoire de l’art racontée dans les livres. Si l’objet de l’histoire de<br />l’art est établi une fois pour toutes, nous cherchons à arrêter ce<br />mouvement perpétuel qui auratise l’œuvre d’art puis son discours. Nous<br />lisons des livres d’histoire de l’art en guise de parcours dans de vastes<br />galeries anachroniques, arrachés de tout emplacement physique et<br />repliés dans des pages de livres. Nous sommes des historiens d’art qui<br />travaillent avec des images de reproduction technique, des clichés<br />photographiques qui ont perdu leurs couleurs, qui ont délaissé sur la<br />légende le poids de la taille et le lieu d’emplacement. À plusieurs égards,<br />l’œuvre d’art reste en suspens : inlassablement auratisée par le récit, elle<br />demeure éloignée.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a91005a71499c334c232c8637fb3e01b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458462,"asset_id":39319656,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458462/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319656"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319656"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319656; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="working paper" id="working paper"><h3 class="profile--tab_heading_container">working paper by Maria Soledad Garcia Maidana</h3></div><div class="js-work-strip profile--work_container" data-work-id="39319521"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39319521/Texto_curatorial_mefo_completo"><img alt="Research paper thumbnail of Texto curatorial mefo completo" class="work-thumbnail" src="https://attachments.academia-assets.com/59458317/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39319521/Texto_curatorial_mefo_completo">Texto curatorial mefo completo</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Si el arte contemporáneo nos permite sentir la complejidad del tiempo en el que estamos inmersos ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Si el arte contemporáneo nos permite sentir la complejidad del tiempo en el que estamos inmersos (Giunta 2014), el museo efímero del olvido nos señala una diversidad de maneras de vivir ese tiempo que es a la vez álgido, desconcertante, traumático, nostálgico, idealizador, promisorio y catastrófico. Los proyectos que componen esta curaduría para el 15 Salón Regional de Artistas Zona Centro proponen formas diversas de construcción y reconstrucción del pasado: algunos recuperan el pasado, aún sabiendo que al hacerlo hoy el pasado se modifica; otros inventan un pasado y un presente que configura una visión de futuro más promisorio, escapado de toda lógica y que rehúye a la catástrofe inminente (ecológica, económica, social y política).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a1d03bdad21f61b2c6ebe662061ad2c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458317,"asset_id":39319521,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458317/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319521"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319521"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319521; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Articles" id="Articles"><h3 class="profile--tab_heading_container">Articles by Maria Soledad Garcia Maidana</h3></div><div class="js-work-strip profile--work_container" data-work-id="62195487"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/62195487/Algo_nuevo_algo_viejo_y_algo_robado_el_arte_latinoamericano_en_dos_textos_de_Juan_Acha"><img alt="Research paper thumbnail of Algo nuevo, algo viejo y algo robado: el arte latinoamericano en dos textos de Juan Acha" class="work-thumbnail" src="https://attachments.academia-assets.com/75028724/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/62195487/Algo_nuevo_algo_viejo_y_algo_robado_el_arte_latinoamericano_en_dos_textos_de_Juan_Acha">Algo nuevo, algo viejo y algo robado: el arte latinoamericano en dos textos de Juan Acha</a></div><div class="wp-workCard_item"><span>XXXIX Coloquio Internacional de Historia del Arte. Historia del arte y estética: nudos y tramas</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A lo largo de los años 70 el debate sobre la función de la crítica y de la teoría del arte en Amé...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A lo largo de los años 70 el debate sobre la función de la crítica y de la teoría del arte en América latina fue agitado y controvertido. Al tratar de avanzar más allá de las posiciones tradicionales “latinoamericanistas”, el conjunto de propuestas que animaron este debate, tomaron como centro de reflexión el problema de la producción artística de un continente con un perfil sociopolítico transformado. La fisonomía del continente había cambiado: los fracasos a repetición de una tentativa “panamericanista” entre Estados Unidos y el continente sudamericano forjaron la vía intervencionista norteamericana en la política local de los países sudamericanos; el miedo a la expansión de la revolución cubana por todo el continente se encargó del resto. Estos procesos de política exterior dirigidos por Estados Unidos dibujan un arco temporal que va desde 1948 con la firma de la Carta de Bogotá hasta su corolario en la década de los sesenta, con la ejecución del programa económico y administrativo de la Alianza para el Progreso. Se delimitaba así claramente la voluntad y el deseo intervencionista y expansionista del gobierno norteamericano</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="13d633241cbd4ec90488ab20abf17769" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75028724,"asset_id":62195487,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75028724/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="62195487"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="62195487"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62195487; 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Cela peut-être tout à fait anecdotique si le questionnement ne survient pas : pourquoi cette interruption dans la progression d'une lecture ? Pourquoi cet éloignement grandissant d'une pratique disciplinaire ? Pour y répondre, il a fallu que je revienne à la lecture pour redessiner mon cheminement dans une pratique tout autre qu'une connaissance spécifique de l'objet artistique. Il m'a fallu traverser des sentiers foncièrement hétérogènes pour y déblayer la certitude disciplinaire. Bref, il a fallu me poser la question sur la potentialité du visible sur le lisible. Le résultat de ce parcours aboutit à une réflexion au croisement disciplinaire entre la philosophie et l'histoire de l'art, où la 'pratique disciplinaire' est interpellée puis mise en suspens. L'objet composé est peut-être le meilleur développement dans ce parcours. En ce sens, il répète le mouvement même de disjonction qui sillonne le travail de lecture puis d'écriture. Il jaillit l'incertitude depuis laquelle je recommence, encore une fois, la lecture. Aucun travail n'avance sans avoir un défi, sans être poussé et interpellé par les questionnements d'autrui : je remercie ma directrice Mme Antonia Birnbaum qui, par son exigence et l'intérêt qu'elle porta à mon sujet, m'a encouragée à traverser ces sentiers hétérogènes. Aucun travail ne peut s'écrire dans la solitude, et c'est d'autant plus vrai lorsqu'il est rédigé dans une autre langue : je remercie vivement toutes les heures de travail, de lecture, de commentaires que Nicole Lievin-Delsarte m'a offert de façon généreuse ; à travers elle, je remercie le travail engagé par tous les bénévoles du CISED. Pour accomplir une thèse, il faut avoir le soutien, la patience, l'amour et la solidarité de tous ses amis-famille : Paulette, Camille, Mabel, Angelica, Ricardo, Céline, Alexandra, Sophie et bien évidemment, je remercie tout particulièrement Antonio mon compagnon de tous les chemins. Quelque chose de neuf, de vieux et de volé : l'art latino-américain dans deux textes de Juan Acha.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="70c9878e6a4421d08a45e5d6f68f9855" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":84697664,"asset_id":77272272,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/84697664/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="77272272"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="77272272"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77272272; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="77272271"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/77272271/Hojear_y_mirar_la_historia_del_arte_le%C3%ADda"><img alt="Research paper thumbnail of Hojear y mirar: la historia del arte leída" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/77272271/Hojear_y_mirar_la_historia_del_arte_le%C3%ADda">Hojear y mirar: la historia del arte leída</a></div><div class="wp-workCard_item"><span>XXI Cátedra Ernesto Restrepo Tirado. El arte, el museo y sus historias</span><span>, 2021</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="77272271"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="77272271"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77272271; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=77272271]").text(description); $(".js-view-count[data-work-id=77272271]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 77272271; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='77272271']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=77272271]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":77272271,"title":"Hojear y mirar: la historia del arte leída","internal_url":"https://www.academia.edu/77272271/Hojear_y_mirar_la_historia_del_arte_le%C3%ADda","owner_id":1886013,"coauthors_can_edit":true,"owner":{"id":1886013,"first_name":"Maria Soledad","middle_initials":null,"last_name":"Garcia Maidana","page_name":"mariasoledadgarciamaidana","domain_name":"unal-co","created_at":"2012-06-04T19:34:37.689-07:00","display_name":"Maria Soledad Garcia Maidana","url":"https://unal-co.academia.edu/mariasoledadgarciamaidana"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="77271861"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/77271861/Procesos_contempor%C3%A1neos_de_investigaci%C3%B3n_en_historia_y_teor%C3%ADa_del_arte"><img alt="Research paper thumbnail of Procesos contemporáneos de investigación en historia y teoría del arte" class="work-thumbnail" src="https://attachments.academia-assets.com/84678956/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/77271861/Procesos_contempor%C3%A1neos_de_investigaci%C3%B3n_en_historia_y_teor%C3%ADa_del_arte">Procesos contemporáneos de investigación en historia y teoría del arte</a></div><div class="wp-workCard_item"><span>Ensayos: Historia y Teoría del Arte</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este artículo se realiza un recorrido de las propuestas, apuestas y debates en torno a la hist...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este artículo se realiza un recorrido de las propuestas, apuestas y debates en torno a la historia del arte desde finales de siglo XX hasta la primera década del presente siglo. El objetivo es presentar un panorama amplio de las discusiones y posiciones que desde la teoría, la crítica y la filosofía han cuestionado y revisado la práctica de la historia del arte. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39319688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39319688/Montaje_e_interrupci%C3%B3n_el_movimiento_de_la_escritura_en_la_historia_del_arte_en_Am%C3%A9rica_Latina"><img alt="Research paper thumbnail of Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Latina" class="work-thumbnail" src="https://attachments.academia-assets.com/59458496/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39319688/Montaje_e_interrupci%C3%B3n_el_movimiento_de_la_escritura_en_la_historia_del_arte_en_Am%C3%A9rica_Latina">Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Latina</a></div><div class="wp-workCard_item"><span>Continuo/discontinuo. Los dilemas de la historia del arte en América Latina</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En “Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Lati...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En “Montaje e interrupción: el movimiento de la escritura en la historia del arte en América Latina” María Soledad García Maidana considera algunas herramientas conceptuales en la construcción del discurso del historiador y en esta tónica plantea que la historiografía del arte en América Latina oscila entre tensiones y oposiciones. Entre éstas detecta el modelo del internacionalismo o del afán de la “actualidad” europea o del dictado estadounidense, y el modelo del nacionalismo o de una emancipadora búsqueda de lo autóctono o lo excepcional. A partir de esta figura ficcional de tensión binaria lineal, García Maidana identifica que en el interior de cada polo hay otras tensiones entre el presente de la tarea del historiador y el pasado que intenta reconstruirse, en lo particular entre la relación del historiador con sus objetos de estudio: documentos, fuentes, obras.<br />Retomando ideas de Certeau y Benjamin, entre otros, la autora apunta que en la construcción del progreso de la historia salen a relucir el positivismo y las continuidades, así como discontinuidades, rupturas, interrupciones e inestabilidades, fragmentos y montajes. Para ella el montaje constituye un camino para resarcir el valor de los fragmentos y construir mediante las interrupciones sucesivas que hay en cualquier relato.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="aadc3bc938b3c579fcc693395c4e2281" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458496,"asset_id":39319688,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458496/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319688"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319688"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319688; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="34934748"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/34934748/Catedra_anual_de_historia_Ernesto_Restrepo_Tirado"><img alt="Research paper thumbnail of Catedra anual de historia Ernesto Restrepo Tirado" class="work-thumbnail" src="https://attachments.academia-assets.com/54796331/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/34934748/Catedra_anual_de_historia_Ernesto_Restrepo_Tirado">Catedra anual de historia Ernesto Restrepo Tirado</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El 30 de julio de 1975 en la salas del Museo Nacional de Colombia se inauguró una exposición hoy ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El 30 de julio de 1975 en la salas del Museo Nacional de Colombia se inauguró una exposición hoy casi olvidada. De aquel evento tenemos pocos registros que nos permitan echar una mirada: un austero catálogo, las referencias esquivas de comentaristas y de historiadores y un puñado de recortes de prensa. “Próceres y Batallas”, como se llamó la muestra, se sitúa en un enclave paradójico tanto exposición conmemorativa de los Festejos Patrios, tanto evento “prospectivo” de la historia del arte nacional de Colombia. Sobre este enclave paradójico desarrollaré las siguientes anotaciones en torno al museo y la escritura de la historia del arte, dividiendo mi intervención en tres partes. En primer lugar abordaré de manera un tanto general la exposición como evento conmemorativo; en segundo lugar, deslizaré algunas anotaciones sobre aquello que Michel De Certeau llamó “las operaciones historiográficas” puntualizando, cada vez, sobre la singularidad de la exposición en el panorama de la historia del arte nacional hacia finales del siglo XX; finalmente y en tercer lugar, quiero poder mostrar el fuerte vínculo entre producción de discurso disciplinar y la divulgación cultural; en otras palabras y para ser más precisa en la idea rectora se tratará de mostrar (el vínculo visual es importante en este enunciado) que en el caso del arte colombiano la instancia de divulgación constituye el lugar de configuración disciplinar para la historia del arte en el último cuarto del siglo pasado.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="010b98790b1497236d961a38851476bb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":54796331,"asset_id":34934748,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/54796331/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="34934748"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="34934748"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 34934748; 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Tres pi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Proyectos y artistas participantes Promesas de desarrollo: La Ruta del Sol / Ximena Díaz; Tres pilares para la utopía / Gonzalo Angarita; De paso (venir abajo) / Laura Peña; Guasca / Luis Roldán; Ciudad futura / Jaime Iregui; SICORP: sistema complementario de rieles público /</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cb2c04bc19a75cbf58229be50de27afe" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75029401,"asset_id":62196168,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75029401/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="62196168"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="62196168"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 62196168; 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Si l’objet de l’histoire de<br />l’art est établi une fois pour toutes, nous cherchons à arrêter ce<br />mouvement perpétuel qui auratise l’œuvre d’art puis son discours. Nous<br />lisons des livres d’histoire de l’art en guise de parcours dans de vastes<br />galeries anachroniques, arrachés de tout emplacement physique et<br />repliés dans des pages de livres. Nous sommes des historiens d’art qui<br />travaillent avec des images de reproduction technique, des clichés<br />photographiques qui ont perdu leurs couleurs, qui ont délaissé sur la<br />légende le poids de la taille et le lieu d’emplacement. 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Los proyectos que componen esta curaduría para el 15 Salón Regional de Artistas Zona Centro proponen formas diversas de construcción y reconstrucción del pasado: algunos recuperan el pasado, aún sabiendo que al hacerlo hoy el pasado se modifica; otros inventan un pasado y un presente que configura una visión de futuro más promisorio, escapado de toda lógica y que rehúye a la catástrofe inminente (ecológica, económica, social y política).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a1d03bdad21f61b2c6ebe662061ad2c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":59458317,"asset_id":39319521,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/59458317/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39319521"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39319521"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39319521; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="9261166" id="articles"><div class="js-work-strip profile--work_container" data-work-id="62195487"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/62195487/Algo_nuevo_algo_viejo_y_algo_robado_el_arte_latinoamericano_en_dos_textos_de_Juan_Acha"><img alt="Research paper thumbnail of Algo nuevo, algo viejo y algo robado: el arte latinoamericano en dos textos de Juan Acha" class="work-thumbnail" src="https://attachments.academia-assets.com/75028724/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/62195487/Algo_nuevo_algo_viejo_y_algo_robado_el_arte_latinoamericano_en_dos_textos_de_Juan_Acha">Algo nuevo, algo viejo y algo robado: el arte latinoamericano en dos textos de Juan Acha</a></div><div class="wp-workCard_item"><span>XXXIX Coloquio Internacional de Historia del Arte. Historia del arte y estética: nudos y tramas</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A lo largo de los años 70 el debate sobre la función de la crítica y de la teoría del arte en Amé...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A lo largo de los años 70 el debate sobre la función de la crítica y de la teoría del arte en América latina fue agitado y controvertido. Al tratar de avanzar más allá de las posiciones tradicionales “latinoamericanistas”, el conjunto de propuestas que animaron este debate, tomaron como centro de reflexión el problema de la producción artística de un continente con un perfil sociopolítico transformado. La fisonomía del continente había cambiado: los fracasos a repetición de una tentativa “panamericanista” entre Estados Unidos y el continente sudamericano forjaron la vía intervencionista norteamericana en la política local de los países sudamericanos; el miedo a la expansión de la revolución cubana por todo el continente se encargó del resto. Estos procesos de política exterior dirigidos por Estados Unidos dibujan un arco temporal que va desde 1948 con la firma de la Carta de Bogotá hasta su corolario en la década de los sesenta, con la ejecución del programa económico y administrativo de la Alianza para el Progreso. 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