Grafiti en el museo: multivocalidad e inclusión a través del arte
Resumen El artículo se centra en el proyecto de creación artística de una pintura de gran formato en la sala de Arqueología del Mundo del Museo de Arqueología y Antropología de la Universidad de Cambridge, iniciado en 2023. El objetivo del proyecto fue dinamizar la sala y enriquecer la experiencia museal, interrogando las colecciones como resultado de momentos de encuentro y desencuentro entre diferentes audiencias y el museo, a lo largo del tiempo y en diferentes espacios. Se buscó explorar la complejidad de las relaciones entre lo tangible y lo imaginario, el presente y el pasado, lo institucional y lo personal, así como lo individual y lo histórico. El método consistió en la participación activa de diversos grupos, incluyendo el equipo de servicios al público, personal del museo, estudiantes y grupos coordinados que participaron en talleres y actividades especiales. Los participantes fueron alentados a reflexionar sobre sus propias relaciones con objetos específicos presentes en la sala, en depósitos, en otros museos o en colecciones personales y familiares. Las fuentes del proyecto incluyeron los objetos arqueológicos de la sala, las experiencias y memorias de los participantes, y las colecciones asociadas tanto institucionales como personales. La conclusión más relevante del proyecto es que la intervención artística de esta pintura a gran escala permitió revisar críticamente la inclusión de prácticas alternativas y ejercicios multivocales en la creación de espacios museales. Estos enfoques resultaron propicios para ofrecer experiencias significativas y relevantes para los visitantes, logrando así una reinterpretación y resignificación de los objetos exhibidos. El artículo discute los logros, desafíos y dificultades del proceso, subrayando la importancia de estas prácticas en la transformación de la experiencia museal.
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Fridrik, S. (2022). Teaching beyond control? On situating a fence and the agonizing effect of graffiti-based cultural practices as challenge and chance for museum education. Art & the Public Sphere, 11(1), pp. 69-86. https://doi.org/10.1386/aps_00070_1
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Smith, L., Waterton, E., Watson, S. (2012). The Cultural Moment in Tourism. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203831755
Simon, N. (2010). The Participatory Museum. Santa Cruz, Calif.: Museum 2.0.
Sundberg, A. A. (2022). Natural Disaster at the Closing of the Dutch Golden Age. Studies in Environment and History. Cambridge: Cambridge University Press. https://doi.org/10.1017/9781108923750
Vasilikou, C., Castoro, M. (2018). Mapping political graffiti: Urban appropriations of public space. En Urban Artscapes. Jefferson, North Carolina: McFarland & Company, Incorporated Publishers.
Yang, P.-Y. (2024). The Rijksmuseum’s Slavery exhibition, 5 June–29 August 2021. Visual Commu-nication, 23(2), pp. 399-402. https://doi.org/10.1177/14703572211063561
Bishop, C. (2006). Introduction. Viewers as Producers. En C. Bishop (ed.), Participation (pp. 10-17. Londres - Cambridge, Mass.: Whitechapel Gallery - MIT Press.
Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Londres: Verso Books.
Black, G. (2012). Transforming Museums in the Twenty-First Century. Londres: Routledge. https://doi.org/10.4324/9780203150061
Bourriaud, N. (2009). Relational Aesthetics. Dijon: Les Presses du Réel.
Clifford, J. (1988). The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge Mass.: Harvard University Press. https://doi.org/10.4159/9780674503724
Desmarais, S., Bedford, L., Chatterjee, H. J., (2018). Museums as Spaces for Wellbeing: A Second Report from the National Alliance for Museums, Health and Wellbeing. Londres: Arts Council England.
Falk, J. H., Dierking, L. D. (2013). The Museum Experience Revisited. Oxford: Routledge. https://doi.org/10.4324/9781315417851
Fridrik, S. (2022). Teaching beyond control? On situating a fence and the agonizing effect of graffiti-based cultural practices as challenge and chance for museum education. Art & the Public Sphere, 11(1), pp. 69-86. https://doi.org/10.1386/aps_00070_1
Geertz, C. (2008). Local Knowledge: Further Essays in Interpretive Anthropology. New York: Basic Books.
Gosden, C., Marshall, Y. (1999). The Cultural Biography of Objects. World Archaeology, 31(2), pp. 169-178. https://doi.org/10.1080/00438243.1999.9980439
Harrison, R. (Ed.). (2013). Heritage: Critical Approaches. Londres: Routledge.
Holtorf, C. (2012). Search the Past - Find the Present: Qualities of Archaeology and Heritage in Contemporary Society. Oxford: Archaeopress.
Hooper-Greenhill, E. (1994). Museums and their Visitors. Londres: Routledge.
Hooper-Greenhill, E. (2000). Museums and the Interpretation of Visual Culture. Londres: Routledge.
Hooper-Greenhill, E. (2007). Museums and Education: Purpose, Pedagogy, Performance. Londres: Routledge. https://doi.org/10.4324/9780203937525
Houston, S., Inomata, T. (2009). The classic Maya. Cambridge: Cambridge University Press.
Jelinek, A. (2020). Between Discipline and a Hard Place: The Value of Contemporary Art. Londres: Bloomsbury Publishing. https://doi.org/10.5040/9781350100510
Jones, A. (2010). Seeing differently: Re-viewing the collections of the art museum. Journal of Museum Education, 35(1), pp. 21-34.
Karp, I., Kreamer, C. M., Lavine, S. D. (eds.). (1992). Museums and Communities: The Politics of Public Culture. Washington, D.C. - Londres: Smithsonian Institution Press.
Kester, G. H. (2011). The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke University Press. https://doi.org/10.1515/9780822394037
Lynch, B. T. (2011). Whose Cake Is It Anyway? A Collaborative Investigation into Engagement and Participation in 12 Museums and Galleries in the UK. Bristol: Paul Hamlyn Foundation.
Macdonald, S. (2011). A companion to museum studies. Oxford Malden: Wiley-Blackwell. https://doi.org/10.1002/9780470996836
Martínez-Carazo, E. M., Santamarina-Campos, V., De-Miguel-Molina, M. (2021). The new emerging artistic expressions: Public mural art, graffiti and post-graffiti. En V. Santamarina-Campos, E. M. Martínez-Carazo, M. de Miguel Molina (eds.), Cultural and Creative Mural Spaces (pp. 113–130). Cham: Springer. https://doi.org/10.1007/978-3-030-53106-5_8
Pearce, S. (1994) Interpreting Objects and Collections. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203428276
Preziosi, D., Farago, C. (2019). Grasping the World: The Idea of the Museum. Londres: Routledge. https://doi.org/10.4324/9780429399671
Reeves, N. (2018). Visible storage, visible labour? En K. S. Mirjam Brusius (ed.), Museum Storage and Meaning: Tales from the Crypt (pp. 55-63). Oxford: Routledge. https://doi.org/10.4324/9781315159393-3
Sandell, R. (2003). Museums, Society, Inequality. Londres: Routledge. https://doi.org/10.4324/9780203167380
Silva, Massarani, L., Araujo, J., & Ribeiro, A. (2024). Una mirada decolonial sobre el pasado, presente y futuro a partir del rescate de recuerdos de visitantes del Museo Histórico Nacional. Arte, individuo y sociedad, 36(1), pp. 237-250. https://doi.org/10.5209/aris.90801
Smith, L., Waterton, E., Watson, S. (2012). The Cultural Moment in Tourism. Oxford: Taylor and Francis. https://doi.org/10.4324/9780203831755
Simon, N. (2010). The Participatory Museum. Santa Cruz, Calif.: Museum 2.0.
Sundberg, A. A. (2022). Natural Disaster at the Closing of the Dutch Golden Age. Studies in Environment and History. Cambridge: Cambridge University Press. https://doi.org/10.1017/9781108923750
Vasilikou, C., Castoro, M. (2018). Mapping political graffiti: Urban appropriations of public space. En Urban Artscapes. Jefferson, North Carolina: McFarland & Company, Incorporated Publishers.
Yang, P.-Y. (2024). The Rijksmuseum’s Slavery exhibition, 5 June–29 August 2021. Visual Commu-nication, 23(2), pp. 399-402. https://doi.org/10.1177/14703572211063561
Lobo Guerrero Arenas, J., Jelinek, A., & Harknett, S.-J. (2025). Grafiti en el museo: multivocalidad e inclusión a través del arte. El Futuro Del Pasado, 16, 303–333. https://doi.org/10.14201/fdp.31826
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