Espacio público contemporáneo en América Latina
Espacio público contemporáneo en América Latina
Ilustración infantil en la literatura danesa
MUESTRA DE DANZA CONTEMPORÁNEA
CICLO DE CINEFOROS
Centro Cultural La Moneda was inaugurated on January 26, 2006 as a great space for culture, designed to engage the attention of diverse audiences at a central location of the civic life in Santiago, Chile. Its construction is part of the project Plaza de la Ciudadanía, which also entailed a considerable remodelling of the Civic Neighbourhood of the capital. Located under the Plaza de la Ciudadanía square, this underground building was built by the Undurraga Devés’ architectural office, with avant-garde features, such as exposed concrete, glass railings and lots of natural light that enters from the ceiling, and then floods the central hall.
The idea of creating this cultural space was conceived during the government of President Ricardo Lagos. The Chilean filmmaker and landscaper, Álvaro Covacevich was involved from the beginning. In order to launch the initiative, Fundación Centro Cultural Palacio La Moneda was created as a private legal entity whose board would be headed by the Ministro Presidente del Consejo Nacional de la Cultura y las Artes (currently the Ministry of Culture, Arts and Heritage), and would also be integrated by other authorities and personalities from the cultural sphere. It was stipulated that the Cultural Centre would have a subsidy from the government, which would be granted annually through the CNCA, and that its director or executive director had to report periodically to the Foundation’s board of directors.
Morgana Rodríguez Larraín was the Executive Coordinator at the time of the creation of Centro Cultural La Moneda. Later, from 2007 to 2018, Alejandra Serrano Madrid took office as the Executive Director; and in 2018, Beatriz Bustos Oyanedel was appointed for the position, which she has held until this day. Since its constitution, they have been responsible for carrying out the programmatic and outreach lines of activity of the space, giving it its own seal, and the emphasis it has required at each stage in response to the transformations in the Chilean society.
In the first period of CCLM the concepts of Community, Diversity and Internationality were its pillars, meant for a wide variety of audiences, with activating actions, for both, visitors and for any passer-by in the downtown area of the city, who on their way, would come across this cultural instance. Hence, the space began generating a growing interest, and one month after its opening, its first main exhibition took place – México. Del cuerpo al cosmos – added 81,204 visitors to the total of 302,772 who came to visit the cultural centre with a daily average of 3,983 people.
In its first years of operation, Centro Cultural La Moneda defined the attributes of Quality, Singularity, Plurality, Diversity and Critical Reflection as its editorial line; in this way, the exhibitions had to include a strategic educational component present in both, the curatorship and museography. Thus, shows that brought together the different cultures of the world to chileans were carried out, within the framework of a programing , which added value to classic and contemporary art, Chilean and universal heritage, and thematic exhibitions.
The uniqueness of CCLM is rendered by its location, facilities, equipment and also by its symbolic value, all elements in accordance with the demand for quality standards, stipulated from the inception of the project. CCLM started with three areas: the exhibition spaces, Cineteca Nacional de Chile and Centro de Documentación de las Artes (CeDoc).
The programmed exhibitions were displayed in the large Andes and Pacific rooms, creating over time rooms for specific disciplines.
Cineteca Nacional de Chile
On March 7, 2006, Cineteca Nacional de Chile opens to all audiences, with the mission of safeguarding and disseminating the audiovisual heritage. It is a member of the Federación Internacional de Archivos Fílmicos, FIAF, and of Coordinadora Latinoamericana de Archivos de Imagen en Movimiento (CLAIM). From its opening until 2015, it was headed by Ignacio Aliaga, filmmaker, screenwriter and cultural manager, and since then it has been directed by Mónica Villarroel, Doctor in Latin American Studies, academic and journalist. In 2008, Cineteca moved its collection to the township of Ñuñoa where its three climate-controlled vaults, a library and a digital laboratory are located with state-of-the-art digitization and restoration technologies, unique in Chile.
Cineteca has undertaken the task of responding to the challenges of safeguarding the audio-visual collection, emphasizing a wide access to its collection through digital platforms, and a perspective based on audiences and participation. The first assignment was to collect all the scattered or vanished films around the world, in order to create the archive; On a second stage, the urgency of digitizing and preserving in new formats was raised, but at the same time guaranteeing its dissemination, and contributing to the creation of new audiences for Chilean cinema with a sustained support for national productions and quality cinema, becoming part of an exhibition circuit of alternative theatres to commercial cinema. In addition, Cineteca has promoted research on Chilean and Latin American cinema, as well as its knowledge, both nationally and internationally, promoting publications and initiatives throughout the territory. Currently, preservation and access are two lines that are developed with a perspective of enhancing the value of the national audio-visual heritage, considered here both, historical production in different formats and genres, and contemporary creations involving all those who participate in the audio-visual field , from creators, distributors and researchers, to the public and filmmakers of tomorrow.
The collection contains films and records which totalled over 11,000 film reels up to 2019, in addition to 8,416 videos and 4,135 titles of national works in different formats and backed up on digital media; about 2,500 family archives, documents, photographs and posters of Chilean cinema. In another line since 2010, Cineteca Nacional has organized the International Research Meeting on Chilean and Latin American Cinema and since 2015, an annual Archive Promotion Contest to study its collections; It has also promoted specialized publications, such as books and DVD editions. On the other hand in 2013, it launched a website with part of its collection, mainly heritage films and iconic films of the Chilean cinema. Currently it is possible to view more than 350 titles, collections and specials, as well as archive samples and records of meetings with great creators and thinkers who have participated in its activities. With the premise that preservation, access and dissemination were essential for an audio-visual archive, Cineteca Nacional had showcased 21,958 functions in its two rooms at Centro Cultural La Moneda by the end of 2019. Likewise, it had released 563 Chilean films and hosted festivals and film shows, in addition to developing a large audience-training program including school audiences.
Centro de Documentación de las Artes, CEDOC
Centro de Documentación de las Artes has set itself the goal to improve the access and understanding of contemporary art, by the everyday citizen and contributing to the educational system in the field of visual arts. It is a place for archiving, research and consultation, where through catalogues, books, magazines and videos, a diagram of the history of current Chilean art is proposed, which had not been systematized previously. Its first director was the academic and curator Isabel García, succeeded by the also curator and art historian, Soledad García. Since 2017, the art historian Ignacio Szmulewicz has been the direction of CeDoc. In early 2018, he was in charge of the relocation of the premises to their current location at Centro Nacional de Arte Contemporáneo in Cerrillos.
In March 2006 began the process of an agreement with Fundación Violeta Parra, to obtain through a gratuitous bailment contract, 47 pieces by this multifaceted Chilean artist, which would be exhibited in the first instance in the gallery Artesanias de Chile. Finally, on November 8, 2007 the Violeta Parra Space was inaugurated at CCLM, which operated until 2014, constituting the main precedent of the Museum, which currently bears its name and is located on Vicuña Mackenna Street in Santiago.
The space dedicated to the legacy of Violeta Parra was later used for the Galería Patrimonio Chileno, which currently is the Galería de Patrimonio, where the cultural equipment and collections from various origins are exhibited using installations that place value on the deeds, knowledge and imagery related to territorial and historical identities.
At Level -3 of CCLM, the gallery El Tunel, dedicated to photographic art, began operating since the beginning, until 2016. Currently, it is called Galería de Fotografía and it has its own programming and an annual segment, co-organized with the Área de Fotografía del Ministerio de las Culturas, las Artes y el Patrimonio, through a contest of curatorial projects and an exhibition of the Premio a la Trayectoria en Fotografía Antonio Quintana award.
In 2008, Galería del Diseño was inaugurated at Level -2, the first space dedicated to this discipline in Chile, whose promoter and first curator was the academic and graphic designer Hernán Garfias. Since then, this room has welcomed expressions that cover the different areas of Chilean and international design such as furniture, lighting, clothing, publishing, etc.
Executive Directorates CCLM
In March 2007, the social worker Alejandra Serrano Madrid was presented as Executive Director, thus beginning a new cycle for the CCLM, which would bring consolidation. During her tenure, nearly 36 exhibitions of different themes and historical periods were held, which contributed to widen and diversify audiences. With the exhibition Frida y Diego: vidas compartidas, inaugurated on November 28, 2008, it positioned itself as a cultural reference in the country, in terms of communication.
In the intense process of her administration, Alejandra Serrano strongly oriented the guidelines of CCLM towards the education and training of audiences. With an original programmatic proposal, she consistently kept Espacio Activo filled, an area dedicated to participatory activities, promoted by Zona Interactiva Mustakis – product of an agreement with Fundación Mustakis – where children and families can learn in a sensory way, through technology, play and the discovery. After 11 years in office, Alejandra Serrano left CCLM with a daily average of 3 thousand visits with a peak of 500 thousand in the most popular exhibitions such as Antigua China y Ejército de Terracota (2009) or Antiguo Egipto. Vida en el Nilo (2016).
In 2018, the new Executive Director Beatriz Bustos Oyanedel assumed her functions. With a wide track record as a cultural manager and curator of contemporary art, Beatriz Bustos has proposed as a programmatic axes in this stage of CCLM, the meeting and intersection of various disciplines with cultural heritage, an open category, which enhances the value of stories, objects, deeds and knowledge, proposing a look into the past from the present. CCLM evolved together with society, incorporating the migrant and opening its doors to hundreds of tourists visiting Santiago.
In her role as Executive Director, Beatriz Bustos Oyanedel has proposed the meeting and intersection of various disciplines with cultural heritage as programmatic axes, an open category that enhances the value of stories, objects, deeds and knowledge, proposing a look of the past from the Present.
Within this framework, a curatorial line has been established that highlights Interculturality, while promoting positive relationships between different cultural communities, with the aim of generating new realities from interaction and dialogue on the differences; a multidisciplinary approach, in which the arts are related to humanities and science. encompassing the interests of different audiences; and participation, which conceives visitors as part of the cultural experience, based on their subjectivities, their personal and collective stories, through art and culture as tools to challenge emotions. This vision of participation and belonging is permanently encouraged by the strategies of the Extension and Educational Area, complementing and enriching each route with products such as an autonomous family kit, room reference sheets and educational notebooks for teachers.
Currently, the already significant attendance figures have surged, extending and making the free hours more adaptable, and placing special emphasis on infant and elderly audiences.
In this sense, the opening in August 2019 of Galería Cero, a cultural space dedicated to early childhood (0 to 8 years), the first of its kind in Chile, with the exhibition La maleta infinita by illustrator Francisca Yáñez, accurately reflects this stage. Understanding first experiences as a source of profound impact on the learning and development of infants, Galería Cero is committed – through its various activities – to create a bond with culture and art, from early childhood.
In addition, the Cultural Centre has incorporated Espacio Whipala that houses temporary exhibitions around topics of interest in current times such as science and technology, the environment and world cultures, among others. It also includes a co-work area available to the general public. In this way, CCLM emphasizes its definition as a “meeting space of different perspectives”, where dialogue and participation, are promoted together with a sense of belonging by the visitors. CCLM has presented 46 exhibitions in its main rooms, 14 years after its creation, among which México del cuerpo al cosmos (2006), Viaje al Arte italiano (2008), Frida y Diego: Vidas compartidas (2008-2009), Una mirada múltiple. Museo del Barro de Paraguay (2009), La Antigua China y el ejército terracota (2009-2010), Oro y plata: el resplandor de América (2010), Juguete nacional (2011), Matta: Centenario 11.11.11 (2011), El Universo de la India (2012), Grandes Modernos. Colección Peggy Guggenheim Venecia (2012), Hitos de América: textiles originarios (2013), Puro Chile: Paisaje y territorio (2014), Arte islámico (2015), Antiguo Egipto. Vida en El Nilo (2016), La ciudad prohibida. China Imperial (2016), Picasso. Mano erudita. Ojo salvaje (2017), La revolución de las formas. 60 años de arte abstracto en Chile (2017), Andy Warhol. Icono del arte pop (2017), El mito de Roma. Colección Museos vaticanos (2017-2018), J.M.W. Turner. Acuarelas. Tate Collection (2019), Joaquín Torres García. Obra viva (2019), Arte contemporáneo. Asia, Australia y El Pacífico. Selección de la Trienal de Asia Pacífico de la Queensland Art Gallery | Gallery of Modern Art (2019), Bauhaus: Influencia en el diseño chileno (2020) y Casa chilena. Imágenes domésticas (2020) stand out.
The work carried out by the director Alejandra Serrano is nowadays being put in value and bolstered by the cultural manager and curator Beatriz Bustos, seeking to enrich from different perspectives the aesthetic and educational experiences of the public.
The intercultural stand point in a country like Chile that is transforming, is a fundamental part of this mission. In its current stage, the CCLM has, for the first time an International Advisory Council made up of curators, directors of spaces and cultural mediation programs from Latin America and Europe, which generates a cross-sectional exchange and input coming from other management experiences. Added to this is the creation of an Editorial Committee, which leans towards enriching the contents of the programs, interleaving the eyes of professionals of the different areas that make up CCLM, these areas are Projects, Marketing, Communications, Education, Extension and Administration.