MARCH 13, 2024
WEDNESDAY

10:30 AM — 10:40 AM
INTRODUCTION
Julieta González, Curator-at-large of Modern and Contemporary Art, MASP

10:40 AM — 12:30 PM
Roundtable

SOL HENARO
Capillary (Curatorial and Management) Actions to Make Way for Other Memories
We still must ask ourselves collectively how we can see museums as sounding boards to make way for other memories. How can we tension and, above all, pierce institutional inertia concerning heritage, collective memory, and the narratives of certain moments linked to sensitive memories, exercises of power, and the respective critical responses based on visuals? Perhaps the question lies mainly in how to carry this out and what policies of care we should support so that certain visuals—with the ability to act at the crossroads of art/politics—are also deployed from museums, not to co-opt them but to add to these institutions the collective act of exercising memories... Designing and understanding museums as sounding boards, trying to make institutions more flexible, and responsibly changing mechanisms is also political work.

ELVIRA ESPEJO AYCA
MUSEF: Cultural Journey and Reflections on Shared Creation
This talk explains the evolution of the Museo Nacional de Etnografía y Folklore [National Museum of Ethnography and Folklore – MUSEF] and its challenges, focusing on the museum’s shared creation. Opened in 1962 as the Museo Nacional de Arte Popular y Artesanía [National Museum of Folk Art and Crafts], we criticize the lack of Indigenous people taking part in its creation and reflect on museographic studies centered on superficial beauty. The Crianza Mutua de la vida [Mutual Nourishment of Life] is explored through linguistic terminology to foster a critical and reflective approach. The initiative of a portable museum and educational production stands out, focusing on community collaboration and appreciation of Indigenous voices in cultural dialogs.

LIA COLOMBINO
The Ambivalence of “We”: Art for the Museo del Barro
In Guaraní, one of Paraguay’s two official languages, there are two “we.” This form of the first-person plural defines relationships not only in Guaraní but in the occasions this language is mixed with Spanish, it shapes forms beyond the language of enunciation. These two forms of “we” help us to think about what we include and what we exclude in the discourses and narratives we create. How can an art museum relate to communities that haven’t developed the idea of art, or whose interests follow other paths? The Museo del Barro [Clay Museum] has experimented with means of relating that seek to build a conversation that bears these differences.

Mediation: David Ribeiro, Supervisor, MASP 

12:30 PM — 2 PM
BREAK

2 PM — 4 PM
Roundtable

JAVIERA MANZI
Feminist Explosions in Chile: Now They See Us
In 1985, the feminist intellectual Julieta Kirkwood wrote: “I feel like going out in the streets with posters and finding myself amidst crowds to change life.” This phrase was uttered at one of the most significant moments of the protests against the Pinochet dictatorship when the feminist movement took on a leading role in both intervention strategies in public spaces and broadening the democratic landscape. Almost 40 years later, the feminist struggle in Chile has once again led to a cycle of strikes, uprisings, and constitutional struggles. In these years, its strength has been expressed both in its mass calls and the creativity of its actions and repertoires, which have revived the demonstrations’ imagination and visual grammar. This talk proposes a reflection on feminist creativity in this cycle of demonstrations, to set connections with its historical echoes and its global reach.

ALEJANDRA BALLÓN GUTIÉRREZ
Artivist Map of Femicide in Peru
According to official estimates, one femicide is perpetrated every two days in Peru. Under the government of Dina Boluarte, the first female president in the country’s history, femicides increased by 12% in 2023, reaching 165 cases. This context is one of increasing corruption at the national level and serious human rights violations, leading to massacres mainly in the southern Andes region. Therefore, this talk is one of the first attempts to map artistic practices developed by activist collectives as a response to this terrible socio-political issue: femicide. We will focus on actions, performances, and interventions in public spaces, especially in the city of Lima. However, we will examine how these urban-community experiences are closely linked to other geographies, on the one hand, with regional ones in Peru’s countryside and, on the other hand, with international ones, beyond its national borders.

LEDA MARIA MARTINS
The Memory of Knowledge in the Body Arts
Thoughts on the memory records in the context of black arts, in which the body is a place for the writing of thinking, emphasizing its role in the building of identity in the territorialization of black-African knowledge in Brazil and the Americas.

Mediation: Matheus de Andrade, Curatorial Assistant, MASP 

MARCH 14, 2024
THURSDAY

10:30 AM—12:30 PM
Roundtable

NATALIA DE LA ROSA
The Taller de Gráfica Popular: A Collective Alternative for Public Art
Related to avant-garde projects that regarded artistic work as analogous to political organization, the Taller de Gráfica Popular [Popular Printing Workshop – TGP] was founded in 1937 by a group of artists and distinguished from a union, a league, and a front by emphasizing the workshop model. This space was devoted to exploring several techniques, to produce a language akin to “engaged art.” Later, other artists joined it, and here we highlight the presence and significance of women and migrant artists, who redefined TGP’s political orientation by becoming one of the development lines of the Mexican feminist movement in the mid-20th century. This talk aims to analyze the forms and uses of the “popular” element in the TGP, considering the technical choices, the group’s organization, and the forms of use, distribution, and reading of the posters, pamphlets, and temporary murals.

GRUPO DE ARTE CALLEJERO
Thoughts, Practices, and Actions of GAC – Grupo de Arte Callejero
We will provide a brief overview of the main methodologies used in the Grupo de Arte de Callejero’s [Street Art Group – GAC], in formats such as street interventions and actions, performances, distortion of advertising pieces, banners, and maps. The use of the defunctionalized object, the serialized, the simulacrum, the fake, and guerrilla communication, among others. We will take as conceptual lines some of our work on memory, institutional violence, the crisis of neoliberalism, and anti-monuments carried out over these 26 years of activities.

COOPERATIVA GRÁFICA LA VOZ DE LA MUJER 
Feminist Militant Practices, Self-management Work, and Visual Narratives of Migrant Women
We will present narratives of our grassroots organization related to the empowerment of migrant women and vulnerable sectors through self-organization, autonomy, the daily practice of struggle principles in the streets and territories, democracy and direct action, class solidarity and mutual support, anti-racism, internationalism, anti-capitalism, and grassroots feminism, based on a transformative and prefigurative ethic.

Mediation: Daniela Rodrigues, Supervisor, MASP

ALEJANDRA BALLÓN GUTIÉRREZ
Visual artist, feminist activist, and social anthropologist. The Peruvian academic has carried out theoretical and practical research interrelating ethnology, criticism, art, and gender studies to assist the social reconstruction and political change of her country. Her interdisciplinary visual oeuvre, both personal and as part of a collective, has been displayed in dozens of solo and group shows at national and international levels; in this sense, she has been part of several artistic collectives, both in America and Europe. Her written and visual work has been published in several books and magazines in the international art and academic world. She is currently a Professor, Editorial Director of CROMA magazine, and Coordinator of the Grupo de Seguimiento a las Reparaciones por Esterilizaciones Forzadas (GREF).
 
COOPERATIVA GRÁFICA LA VOZ DE LA MUJER
This is a productive endeavor of MTD Lucha y Libertad de la Villa 20 de Lugano (Buenos Aires, Argentina), in the Federación de Organizaciones de Base Autónoma (FOB-A). Since 2012, it has been a space for discussions and political reflection in the movement’s Asamblea de Mujeres and the networks of counter-hegemonic alliances. At La Voz de la Mujer [The Voice of Women], we are devoted to graphic production, making handmade diaries, calendars, poetry books, notebooks, posters, and xylo embroidery, among others. We consider ourselves female art workers, organized and in resistance against patriarchy, racism, colonialism, and capitalism.
 
ELVIRA ESPEJO AYCA
Elvira Espejo Ayca is an influential Indigenous artist, cultural manager, and researcher. Born in the ayllu [family community] of Qaqachaka (Abaroa province, Oruro, Bolivia), her work is linked to textiles, oral tradition, and poetry. She is the Director of the Museo Nacional de Etnografía y Folklore (MUSEF). She received the Goethe Medal 2020, an official award from the Federal Republic of Germany, for her work and her commitment to cultural exchange. The significance of her work is related to the dialog between the practice and knowledge of Indigenous communities and the intersection with universities, cultural management, and museums.
 
GRUPO DE ARTE CALLEJERO
The Grupo de Arte de Callejero [Street Art Group – GAC] began its activities in Buenos Aires in 1997, based on the need to build a space in which artistic and political elements belonged to the same production mechanism. The group carries out visual and/or performative interventions outside the traditional exhibition circuits, focusing on the appropriation of public spaces. Among the issues it addresses are State terrorism in Argentina and the Southern Cone, memories, institutional violence, anti-monument actions, popular monuments, gentrification, and criticizing policies of social inequality and neoliberalism, among others. Lorena Bossi, Carolina Golder, Mariana Corral, Vanesa Bossi, and Fernanda Carrizo are the group’s current members.
 
JAVIERA MANZI
Sociologist and archivist at the Universidad de Chile, curator, lecturer, and independent researcher. A member of the Red Conceptualismos del Sur (RedCSur), she has devoted herself to researching the intersections of the fields of art, politics, and social movements in Chile and Latin America. She is co-author of the book Resistencia Gráfica: Dictadura en Chile (LOM, 2016) and has curated shows in several museums. She is currently working on the exhibition Revueltas Gráficas: Multitudes para Cambiar la Vida, at the Centro Cultural La Moneda. An activist member of the Coordinadora Feminista 8M, she was an advisor to the Constitutional Convention and has written several chapters and essays on feminist politics and action in Chile. Currently, she also coordinates the restoration of the Archivo La Morada, a historic feminist organization founded in 1983.

LEDA MARIA MARTINS
Poet, essayist, playwright, and teacher. She holds a Ph.D. in Letters/Comparative Literature from the Universidade Federal de Minas Gerais (UFMG) and a Master’s degree in Arts from Indiana University. She is a Visiting Professor at Universidade Federal Fluminense’s (UFF) Graduate Program in Psychology and was a Professor at UFMG (1993–2018), Universidade Federal de Ouro Preto’s (UFOP) (1982–1992), and a Visiting Professor at the Tisch School of the Arts in 2010, as well as Director of Cultural Action at UFMG (2014–2018). She has written several books, book chapters, and essays in Brazil and abroad, including Performances do tempo espiralar, poéticas do corpo-tela (Cobogó, 2021). In 2017, the Leda Maria Martins Award for Black Performing Arts was created and sponsored by the Minas Gerais Development Bank. In 2022, she was awarded the Milú Villela Prize by the Itaú Cultural Foundation in the Learning category. In 2023, she was awarded the Funarte Master of Integrated Arts Prize.

LIA COLOMBINO
Master in Museology from the University of Valladolid. She took part in the seminars Identidades en Tránsito and Estudios de Crítica Cultural at the Seminario Espacio/Crítica (2001–2008). She is currently part of the Ph.D. Program in Arts at the Universidad Nacional de las Artes in Buenos Aires. Since 2008, she has been the Director of the Museo de Arte Indígena del CAV/Museo del Barro, and from 2009 to 2017 she was the Coordinator of the Seminario Espacio/Crítica. Since 2009, she has been a member of the Red Conceptualismos del Sur (RedCSur). Since 2018, she has been Director of the Instituto Superior de Arte Dra. Olga Blinder at the School of Architecture, Design, and Art of the Universidad Nacional de Asunción. She has curated exhibitions and coordinated art and literature projects. She has written for the media and specialized publications and has delivered lectures and conferences in Paraguay and abroad.
 
NATALIA DE LA ROSA
Art historian and curator. Her interests comprise modern and contemporary art in Mexico, muralism, public art, and its critical updates. Her work analyzes the relationships between art, politics, and economics, and her approaches rethink the networks involving artists, editions, cultural institutions, and concepts in the hemisphere to highlight local and alternative narratives. Between 2014 and 2016, she curated the collection of the Museo de Arte Moderno in Mexico, and between 2016 and 2018 she was a postdoctoral associate at Duke University. De la Rosa was awarded the Cátedra William Bullock (2017) with the project Museo Comunitario y Club de Lectura de Sierra Hermosa, with which she collaborates. She is a postdoctoral student at the Instituto de Investigaciones Filológicas at the Universidad Nacional Autónoma de México (UNAM) (2020–2022) and a researcher at the Instituto de Investigações Estéticas at UNAM, Oaxaca Unit.
 
SOL HENARO
From 2000 to 2003, Sol Henaro was co-curator of the Museo Universitario de Ciencias y Arte (MUCA Roma) at the Universidad Nacional Autónoma de México (UNAM); in 2004, she founded the Celda Contemporánea, which she headed until 2006. Among the exhibitions she has curated is No-Grupo: Un zangoloteo al corsé artístico, at the Museo de Arte Moderno. Since 2010, she has been a member of the Red Conceptualismos del Sur (RedCSur). She has published several texts, whose highlights include the research Melquiades Herrera, published in 2015 by Alias Editorial. She was Curator of the art collection at the Museo Universitario Arte Contemporáneo (MUAC) and, from 2015 until the beginning of 2024, she was Curator of the Document Collection and Head of the Centro de Documentación Arkheia at MUAC. In 2017, she received the Distinción Universidad Nacional award for young academics in the field of artistic creation and cultural outreach granted by UNAM. In January 2024, she became Director of the Museo Universitario del Chopo, UNAM.