William Alfonso López Rosas
William Alfonso López Rosas is professor at the Instituto de Investigaciones Estéticas of the Universidad Nacional de Colombia (http://www.iie.unal.edu.co). Currently he coordinates two research groups: Taller Historia Crítica del Arte and Museología Crítica y Estudios del Patrimonio Cultural.
He has professional experience in the museums field since the early nineties. He worked at the Museo de Arte of the Banco de la República de Colombia, the Museo Nacional de Colombia and was director of the Museo de Arte of the Universidad Nacional de Colombia. In this institution, from 2003 to 2006, he coordinated the group of the Maestría en Museología y Gestión del Patrimonio, and was its first director (2006-2008).
As an art historian, he has cured several exhibitions dedicated to the review of some key issues about modern art and also to provide lectures on contemporary art in Colombia.
He is a social communicator, professional in literary studies, and also obtained a master's degree in art history and a doctorate in art history.
He is a member of the Colombian ICOM Committee (http://network.icom.museum/icom-colombia/), and he is part of the Red Conceptualismos del Sur (https://redcsur.net)
He directs the radio program "Museums en contexto", on the radio station of the National University of Colombia (http://unradio.unal.edu.co/nc/detalle/cat/museos-en-contexto.html).
He has professional experience in the museums field since the early nineties. He worked at the Museo de Arte of the Banco de la República de Colombia, the Museo Nacional de Colombia and was director of the Museo de Arte of the Universidad Nacional de Colombia. In this institution, from 2003 to 2006, he coordinated the group of the Maestría en Museología y Gestión del Patrimonio, and was its first director (2006-2008).
As an art historian, he has cured several exhibitions dedicated to the review of some key issues about modern art and also to provide lectures on contemporary art in Colombia.
He is a social communicator, professional in literary studies, and also obtained a master's degree in art history and a doctorate in art history.
He is a member of the Colombian ICOM Committee (http://network.icom.museum/icom-colombia/), and he is part of the Red Conceptualismos del Sur (https://redcsur.net)
He directs the radio program "Museums en contexto", on the radio station of the National University of Colombia (http://unradio.unal.edu.co/nc/detalle/cat/museos-en-contexto.html).
less
Related Authors
InterestsView All (43)
Uploads
Papers by William Alfonso López Rosas
Textos de Víctor Albarracín, Halim Badawi, Jonás Ballenero, Pablo Batelli, Luis Camnitzer, Nicole Cartier, Jaime Cerón, Claudia Díaz, Fernando Escobar, Nicolás Gómez, Jaime Iregui, Cristina Lleras, Humberto Junca, William López, Alejandro Martín, Lucas Ospina, Gina Panzarowsky, Susana Quintero, Carlos Salazar, Carlos Salazar Wagner, Elkin Rubiano, Elena Sánchez, Lina Useche, Guillermo Vanegas y Guillermo Villamizar.
El dossier inicia con un análisis de Elkin Rubiano en en torno al papel de los públicos en el campo expandido de la crítica a partir del debate de Tania Bruguera, donde describe la incidencia en la crítica de las nuevas tecnologías de la información y la comunicación. El autor hace un paralelo entre el debate en esferapública sobre un performance de Bruguera y la forma como se presenta el caso en los medios masivos. Se pregunta por la diferencia de los discursos que circularon por una plataforma en la que participan artistas, críticos, curadores y otros agentes del campo del arte, y las opiniones de columnistas, ministras, fiscales y abogados, entre otros, divulgadas en medios radiales e impresos. Finalmente, hace un análisis discursivo de las intervenciones.
Le sigue un ensayo de William López que aborda el devenir de la crítica desde mediados del siglo XX y desplazamiento desde los medios impresos a blogs y plataformas de discusión, Guillermo Vanegas analiza voces y formas de discusión en esferapública, Carlos Salazar piensa la crítica como publicidad “beligerante” y simulación teórica, Lucas Ospina reflexiona sobre el sentido y el sinsentido de escribir sobre arte, Claudia Díaz escribe sobre la crítica sin intención crítica y Lina Useche formula un manual para la crítica en la época de la posverdad.
This book gathers the testimony of five of the six members of Taller 4 Rojo, a collective of artists who, in the authoritarian decade of the 1970s, in Colombia, were not only an inescapable position when it came to talking about Relations between art and politics in that decade, but within the establishment of the most contemporary scene in the country. The book is made up of two large sections which, in turn, consist of several chapters. The first section, which is the one that appears in this pdf, is constituted by two texts introductory to the study of the collective. The second and largest section is made up of the testimonies of Carlos Granada, Diego Arango, Umberto Giangrandi, Jorge Mora and Fabio Rodríguez Amaya. This second part is subdivided, in turn, into six chapters: (one) Trajectories; (Two) Foundations; (Three) Processes - Political poetic activism; (Four) Social and political movements; (Five) The National University - Teaching; And (6) Disagreement and Dissolution.
This structure makes a fundamental methodological principle of "The museological adventure in Colombia", macro-research project in which the book was made: the recovery of the memory of the experience of professionals who were committed to building and development memory institutions in the country, throughout the second half of the twentieth century.
Haga clic aquí para leer todo el contenido de la revista (https://www.revistaarcadia.com/edicion/161)