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Facultad De Filosofía Y Letras Departamento De Historia Del Arte Facultad de Filosofía y Letras Departamento de Historia del Arte Programa de Doctorado Estudios Artísticos Literarios y de la Cultura Coleccionismo público de arte moderno en Colombia (1948- 1965): los casos del Museo Nacional y el Museo de Arte Moderno de Bogotá Por Alexandra Mesa Mendieta Dra. María Dolores Jiménez Blanco Directora Dra. Patrícia Mayayo Bost Tutora 2018 Dedicada a Marina y Gabriela Agradecimientos Durante el tiempo de investigación y escritura de esta tesis, muchas personas contribuyeron a que las cosas salieran bien, a todos ellos ofrezco mi gratitud. A mis profesoras María Dolores Jiménez Blanco, Patricia Mayayo y Carmen María Jaramillo por creer, apoyar mi trabajo y ayudarme a crecer como investigadora. A mis amigos Alejandro Garay, Constanza Velasco, Yamili Muñoz, Ángela López, Luisa Navarro, Carmen López, Mariana Ortiz, Alberto Luque, Tatiana García, Lorena Danisi, Johana Mejía, Juan David Enciso, Elizabeth Claro y Catalina Alvarado; por escuchar mis alegrías y penas, celebrar cada paso, leer mis textos, ayudarme con trámites y alojarme en sus casas durante los viajes. A mis compañeros y amigos de trabajo e investigación en el Centro de Estudios de Posgrados de la Universidad Autónoma de Madrid, la Universidad Agustiniana de Bogotá, el Museo Nacional de Colombia: Talía Gómez, Julián Serna, William Contreras, Ana María Sánchez, Samuel León, Ángela Gómez, Rodrigo Trujillo, Milena Ortiz, Javier Zambrano, Fabian Oliveros, Rafael García. También a Alejandro Garay por ser mi lector y crítico constante y a Slenka Botello por su valiosa ayuda con la escritura de las primeras versiones de algunos de los textos que acá se presentan. A William López, Silvia Suárez, Miguel Cabañas, Alessandro Armato, Fernando Rodríguez, y todos los profesores e investigadores que amablemente 3 respondieron a mis mensajes, me recibieron en sus casas u oficinas, compartieron ejemplares de sus publicaciones y me guiaron hacia archivos, documentos y libros que enriquecieron el panorama documental de esta tesis. También a quienes en los museos, archivos y bibliotecas, me acogieron y colaboraron con material y trámites de derechos de reproducción para poder publicar, especialmente a: Antonio Ochoa, Milena Ortiz y Samuel Monsalve en el Museo Nacional de Colombia; María Elvira Ardila, Jaime Pulido, Liza Pulecio, Marylin León y Sebastián Acevedo en el Museo de Arte Moderno de Bogotá; Sigrith Castañeda en el Banco de la República; Miguel del Valle-Inclán en la Biblioteca del Museo Reina Sofía; Carlos Pérez Sanabria en la Agencia Española de Cooperación Internacional para el Desarrollo; Adriana Ospina y Greg Svitil en el Museo de Arte de las Américas; Shelby Rodríguez en el Museo de Bellas Artes de Houston; Rachel Chatalbash en el Archivo del Museo Guggenheim de Nueva York; y Ana Márquez en el Archivo de la Bienal de Sao Paulo. A quienes me colaboraron en trámites administrativos y académicos: Carolina Franco y Marta Casis en la Universidad de los Andes, Bertha Aranguren en el Museo Nacional, Valeria Camporesi, Carlos Reyero y José María del Real en la Universidad Autónoma de Madrid. Agradezco ampliamente el apoyo y financiación del Centro de Investigaciones y el Programa de Cine y Televisión de la Uniagustiniana en Bogotá, y la beca de colaboración ofrecida por el Centro de Estudios de Posgrado de la Universidad Autónoma de Madrid. Las invitaciones a participar y exponer los avances de mi tesis en congresos de investigadores emergentes en la Universidad de Texas, la Universidad de Maryland y el Museo de Artes de las 4 Américas, fueron espacios de interacción muy importantes para que este proceso contara con una retroalimentación de alta calidad y consiguiera llegar a buen término. Muchas gracias también a los editores, correctores y evaluadores de las revistas Quintana, Tadeo DeArte y Aisthesis por ser receptivos a mis propuestas y por su impecable trabajo. Finalmente, y sobre todo, gracias a mi familia; a mis padres Marina y Antonio por su apoyo incondicional, a mi hermano Juan Antonio, y a mis sobrinos Gabriela y Juan Pablo por inspirar y motivar este proceso. 5 Coleccionismo público de arte moderno en Colombia (1948- 1965): los casos del Museo Nacional y el Museo de Arte Moderno de Bogotá Alexandra Mesa Mendieta Universidad Autónoma de Madrid, 2018 Directora: Dra. María Dolores Jiménez Blanco Tutora: Dra. Patrícia Mayayo Bost Resumen: En el periodo comprendido entre 1948 y 1965, se presentan las condiciones propicias para definir un coleccionismo público de arte moderno en Colombia. Asunto directamente vinculado al establecimiento de espacios de exhibición, donde se congregan diferentes prácticas inherentes al campo de la plástica (creación, exhibición, coleccionismo, crítica e historia). Estos lugares se constituyen como focos de sociabilidad y gradualmente aportan movilidad al circuito artístico local. Están representados fundamentalmente por museos y salas de exposición, creados a partir de modelos foráneos, para en simultánea: responder a demandas de diplomacia cultural, apoyar la creación nacional y servir como mediadores en la internacionalización inherente al arte moderno a mitad del siglo XX. Para esta investigación se estudian dos casos centrales con características diferenciadas, que aportan un panorama amplio a la hora de pensar los espacios de desarrollo y difusión de los lenguajes artísticos en Colombia durante las primeras décadas de la Guerra Fría: El Museo Nacional y el Museo de Arte Moderno de Bogotá. 6 Índice Índice de siglas y acrónimos ………………………………………………………………………. 11 Índice de imágenes ………………………………………………………………………………………. 14 Introducción …………………………………………………………………………………………………. 25 I. Planteamiento del problema …………………………………………………………………. 26 II. Estado de la cuestión ……………………………………………………………………………. 34 III. Estructura ………………………………………………………………………………………………. 45 Primera parte - ¿Arte moderno o arte nacional? (1943-1963) Capítulo 1. Modernidad e internacionalización (1943-1956) ……………. 50 I. Artistas colombianos en la colección del MoMA (1943-1948) ………………. 61 II. 32 Artistas de las Américas: la incursión de la OEA en la escena del arte colombiano (1948-1951) …………………………………………………………………………………. 74 7 III. ¿Una exposición de arte moderno sin Picasso?: artistas colombianos en la Bienal Hispanoamericana de Arte (1951-1956) ………………………………………………. 85 Capítulo 2. Arte moderno en la colección del Museo Nacional de Colombia (1948-1963) ………………………………………………………………….…………. 103 I. Proyecto museo: 1948 …………………………………………………………………………. 106 II. Uniendo fragmentos: el origen de una colección de arte ……………………. 113 III. Museo Nacional pieza clave en el naciente circuito bogotano para el arte moderno (1948-1951) ……………………………………………………………………………………. 124 IV. Tiempo para la internacionalización (1951-1957) ………………………………. 132 V. El Siglo XX y la Pintura en Colombia: 1963 …………………………………………. 138 Segunda parte - Tiempo para coleccionar arte moderno (1956-1965) Capítulo 3. Modernidad e internacionalización (1956-1963): Colombia en los Premios Guggenheim y la Bienal de Sao Paulo …………………………. 144 I. Artistas colombianos compitiendo en Nueva York: Premios Guggenheim (1956-1960) …………………………………………………………………………………………………… 152 II. Artistas colombianos en la Bienal de Sao Paulo (1957-1965) …………… 167 Capítulo 4. Un banco coleccionista: colección y Sala de Exposiciones de la Biblioteca Luis Ángel Arango (1957-1963) ………………………………………. 194 8 I. Sala de Exposiciones de la BLAA: un lugar de encuentro permanente para artistas, críticos y público ………………………………………………………………………………. 199 II. Arte y diplomacia bancaria: Salón de Arte Moderno de 1957, el origen de una colección …………………………………………………………………………………………………. 201 III. Colección de arte del Banco de la República: primeros pasos ……………. 208 IV. Perspectivas frente a lo moderno ………………………………………………………. 221 Capítulo 5. Una colección de arte moderno para Bogotá (1963-1965) ………………………………………………………………………………………………………………………. 230 I. Museo de Arte Moderno, una necesidad latente …………………………………. 234 II. 1963: el año nómada …………………………………………………………………………. 243 III. La primera sede ……………………………………………………………………………………. 253 IV. “Nueva pintura” latinoamericana en el MAM (1963-1965) …………………. 260 V. La colección …………………………………………………………………………………………. 277 Conclusiones ………………………………………………………………………………………………. 286 Anexo 1. Catálogo de exposición 32 Artistas de las Américas (1949) ………………………………………………………………………………………………………………………. 302 Anexo 2. Catálogo de exposición El Siglo XX y la Pintura en Colombia (1963) …………………………………………………………………………………………………………. 312 9 Anexo 3. Texto preliminar en castellano de la presentación de la delegación colombiana a la V Bienal de Sao Paulo (1959) ………………… 324 Anexo 4. Catálogo de la exposición Pintura Contemporánea Venezolana (1963) ……………………………………………………………………………………………………...... 327 Anexo 5. El Museo de Arte Moderno y la Universidad Nacional [1965] ....................................................................................................... 364 Bibliografía ..................................................................................... 389 10 Índice de siglas y acrónimos ABMAMBo: Archivo Biblioteca Museo de Arte Moderno de Bogotá AHBS: Archivo Histórico Bienal de Sao Paulo AHFG: Archivo Histórico Fundación Guggenheim Nueva York AHMAA: Archivo Histórico Museo de Arte de las Américas AHMNC: Archivo Histórico Museo Nacional de Colombia BLAA: Biblioteca Luis Ángel Arango BRC: Banco de la República de Colombia CABRC: Colección de Arte del Banco de la República de Colombia CAECI: Colección Agencia Española de Cooperación Internacional CAIA: Centro Argentino
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