Directora del Museo del Chopo: El poder de los archivos y los relatos que faltan - Sol Henaro | #120

Sol Henaro, curator and director of the Museo del Chopo, speaks on Arte en Diálogo about contemporary art, archives, and the power of museums: can they truly be neutral, or are they a showcase of power? An art historian, researcher, and cultural activist, Sol Henaro directs one of Mexico's most unique spaces, which she herself defines as "a social center disguised as a museum." She spent more than thirteen years reconstructing the archive of the non-objective artist Melquíades Herrera and has made archives (those she calls "zombies" when they are stored but not activated) the focus of her curatorial practice. In this conversation, we discuss what goes into and out of a museum and who decides, the shift toward more porous and pluralistic models, and why, in her words, "art is a burrow." 00:00 Preview: Can a museum be neutral? 01:46 Featured work: Colombo Phobia 02:14 Welcome to Sol Henaro 02:53 Who is Sol: from the Cloister of Sor Juana to the MACBA's PEI (Program for the Improvement of Contemporary Art) 04:13 The eye infection and the first approach to the archive 05:21 MUCA Rome: bringing generations into dialogue 07:06 13 years reconstructing Melquíades Herrera's archive 09:37 What is an archive? Back to Base 10:36 Artwork and Document: The Same Value 11:55 Transversal Curatorship: A Chef Reading the Archive 14:03 What is the Museo del Chopo and Its Delirious History 17:07 "A Social Center Dressed as a Museum" 18:13 The Tianguis del Chopo and Urban Cultures 19:58 Gay Cultural Week and Diverse Communities 21:18 More Porous, Plural, and Elastic Museum Models 22:17 How the Museum Found It: The Fanzine Library 24:30 Attending Diagonally: The Showcase for Young Artists 26:21 The Museum as a Laboratory 26:58 Babbling: Learning to Generate a Language 27:35 The Risks of Defending Freedom of Expression 28:24 Zombie Archives: An Archive That Isn't Alive Doesn't Exist 31:30 The Past Is Also Uncertain: Rewriting the Archive 33:09 Removing the Corsets for Art 34:09 Memory Activist: The HIV/AIDS Archive 36:45 Ayotzinapa: The Archive as Resistance to Erasure 38:09 Is the Public Sphere a Corset? Academic Freedom 39:41 Why a University Museum Must Take Risks 41:08 Looking at Central America and the Caribbean 43:20 Guatemala: Returning Rosa Elena Curruchich's Work to Its Context 45:38 Is the Label "Latin American Art" a Border? 47:36 The Challenge: Dignifying the Neglected Collection 49:01 Co-responsibility: Loosening the Corset and Passing the Baton 50:17 The Pulse of Art in Mexico Today 51:39 Experimentation vs. Market Conservatism 54:42 The Strategy of Joy (Roberto Jacoby) 55:25 Should a Museum Take a Political Stance? 57:24 Art as a Den: What It Has Given Sol 💡 Connect with the vibrant artistic community of Arteinformado: https://bit.ly/3VApcjG 👉 Follow Sol Henaro on Arteinformado: https://bit.ly/4bev5e9 🖼️ Exhibition of artwork: Shinji Nagabe carried out a project at Collegium about the Treaty of Tordesillas and the idea of ​​borders, creating a 20-meter collective tapestry with residents of Arévalo that connects objects from Arévalo and Brazil. The final work was presented in the Plaza de la Villa. Born in São Paulo (1981), he is an artist of Japanese origin who works on migration and identity through photography and collective processes. He has lived in Europe since 2014 and is represented by Galerie 193 (Paris). ℹ️ Learn more about the artist: https://bit.ly/3OFyIkE Follow us on: 📸 Instagram:   / arteendialogo   🐦 Twitter:   / arteendialogo   🕺 TikTok:   / arteendialogo   🎧 Buzzsprout: https://arteendialogo.buzzsprout.com 👍 Facebook: https://www.facebook.com/profile.php?... 🤝 Support us!: https://www.buzzsprout.com/2247281/su...