El campo del arte en disputa:: posicionamientos contemporáneos y convocatorias artísticas en el Ecuador en la década del noventa

• Manuel Kingman ^[1] ; Pamela Cevallos ^[1]
  1. [1] Pontificia Universidad Católica del Ecuador

     Pontificia Universidad Católica del Ecuador

     Quito, Ecuador

     
• Localización: Arte, individuo y sociedad, ISSN 1131-5598, Vol. 29, Nº 1, 2017, págs. 23-37
• Idioma: español
• Títulos paralelos:
  • Art field in debate:: Contemporary positions and open calls for artists in Ecuador during the nineties decade
• Enlaces
  • Texto completo
• Resumen
  • español

    Este artículo propone una lectura del campo artístico ecuatoriano de la década del noventa a partir de las tensiones entre nociones modernas y planteamientos contemporáneos sobre el arte. Desde una revisión teórica e histórica, analizaremos cómo la idea de arte contemporáneo se posicionó en Ecuador a finales de los noventa en un contexto de disputas y redefiniciones institucionales. Para esto estudiaremos los procesos de reformulación de bases del Salón Mariano Aguilera y la Bienal de Cuenca, que expresaron las discusiones centrales de los artistas, los críticos y las instituciones.

  • English

    Spain is a country with a wide tourist heritage. All the public institutions should be interested in preserving and conserving it in good conditions year after year. New digital technologies may allow making a thorough and reliable inventory of all of our goods so as to show them whether with static or in movement images in order to promote cultural tourism.

    The methodology used to accomplish this task is based on reverse engineering, tool that allows us to know details of its shape, texture, construction details and geo-referenced positioning. Inverse engineering will help us to create a digital catalogue with all the formal characteristics of the objects and tourist spaces. It will be possible theThis article proposes a study of the Ecuadorian artistic field during the nineties in accordance with the tensions between modern notions and contemporary approaches to art. Considering a theoretical and historical review, we discuss how the idea of contemporary art was positioned in Ecuador in the late nineties in a context of disputes and institutional redefinitions. In this regard, we will analyze Salon Mariano Aguilera and Cuenca Biennale legal bases’ restructuring processes, which were central to discussions of artists, critics and institutions during that time