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Agenda-Sefardi-2019-2020.Pdf Cubiertas OK Agenda Sefardi 2019-2020:Maquetación 1 18/12/19 17:42 Página 1 Con los mejores deseos de un año nuevo y feliz Happy New Yearשנה for a טובהBest Wishes Nos meilleurs vœux pour une heureuse nouvelle année 5780 de la era judía 2020 de la era cristiana MUSEO SEFARDÍ C/ Samuel Leví, s/n. 45002 Toledo (España). Tlf. (34) 925223665 Más información: www.museosefardi.es Foto portada: Dibujo de Hugo Pratt realizado para el Libro de Visitas del Museo Sefardí. Edita: Colaboran: Ayuntamiento de Toledo Federación de Comunidades Judías de España Edita: Museo Sefardí © Ministerio de Cultura y Deporte. Secretaría General Técnica. S. G. de Atención al Ciudadano, Documentación y Publicaciones. N.I.P.O.: 822-19-090-0 // Diseño y maquetación: db comunicación // Imprime: AGSM // Papel reciclado // Traducción: Laura Romero EN HOMENAJE A DSireActorNdelTMuIseAo SeGfardOí entreP20A09 yL20O19 MERO El pasado 19 de agosto, mientras se preparaba este número de 100 años no es nada , fallecía Santiago Palomero, director del Museo Sefardí de Toledo durante la última década y alma mater de esta publicación. Historiador, arqueólogo y gestor cultural, con la muerte del que fuera también subdirector general de Museos del Ministerio de Cultura se va uno de los museólogos más destacados del panorama nacional. El ministro de Cultura y Deporte, José Guirao, ha destacado su compromiso con la idea de «un museo comunitario, abierto e inclusivo, cuya principal función es la justicia social ». Amigos y compañeros le rinden en estas páginas un sentido homenaje. «Contar historias, producir emociones, hacer surgir recuerdos, desarrollar la imaginación y servir de estímulo a la siempre difícil vida cotidiana »: así entendía Santiago Palomero el sentido de los museos, y de la vida misma. Hemos preparado este número siguiendo su estela, su carácter y espíritu. Gracias por todo, Santiago. Fotos: encas:llalamancha.es / Rebeca Arango Foto: Yolanda Lancha SANTIAGO PALOMERO, SANTIAGO PALOMERO, PASIÓN Y POESÍA PASSION AND POETRY Para Santiago los museos eran pasión y Museums were passion and poetry for poesía, y eso es lo que compartió con todos Palomero and that is what he shared with all nosotros como Subdirector General de of us as General Deputy Director of State Museos Estatales entre marzo de 2007 y Museums between March 2007 and August agosto de 2010. Él mismo, al poco tiempo de 2010. A short while after he assumed this tomar posesión en este puesto, se presentaba position, he used to introduce himself as como «Santiago Palomero, que además de “Santiago Palomero, who, besides being an viejo amigo sigue siendo amante de los old friend, is a lover of museums and by museos y accidentalmente subdirector accident General Deputy Director to work in general para servir a los museos también museums from the bureaucracy sector and I desde la burocracia, y eso que siempre había have always thought and said in my speeches hecho mío, en mis intervenciones, lo que what K. Hudson used to say and that was the decía K. Hudson, aquello de que “en los idea that in museums, there is no need for museos sobran burócratas y faltan poetas”. bureaucrats but there is a strong need of Bueno, pues aquí estoy a su servicio en los poets . Well, here I am, at your disposal in the términos antes citados» 1. terms before mentioned ”1. Burocracia y poesía, dos términos en principio Bureaucracy and Poetry, two terms that are difíciles de combinar, que Santiago, con su difficult to combine at the beginning and especial sensibilidad y sentido del humor, which Santiago, with its special sensitivity and supo equilibrar en el fiel de la balanza humour sense, knew how “to achieve a loyal tomando prestadas de su admirado poeta balance”, borrowing three reflections from his Antonio Colinas tres reflexiones en torno a lo admired poet Antonio Colinas regarding the que los museos debían ser: fuentes de vida, Museums: they should be sources of life, de más vida, de otra vida; sanadores por su sources of more life and sources of another capacidad terapéutica y transformadores, life; healers due to their therapeutic and porque «visitando el museo nuestro tiempo transforming capacity because “when we visit se dilata y logramos dar un poco más y mejor a Museum, our time is expanded and we can con la eternidad del instante» 2. enjoy a little bit more the eternity of that moment ”2. Santiago solía también repetir en sus intervenciones y en sus escritos que los Santiago also used to repeat in his speeches museólogos somos, ante todo y sobre todo, and in his writings that the museologists are, «humildes contadores de historias», pero de first and foremost, “modest storytellers”, but historias que no son inocentes, porque, stories that are not innocent because, as he como él decía, ningún museo lo es, ni used to say, no museum is innocent and no inocente ni neutral, aunque algunos se museum is neutral, although some of them presenten como tales. Y por eso nos invitaba 1 Museos… de cine (y IV), Revista de Amigos de los 1 Museums … of cinema (and IV), Magazine of Friends of Museos , FEAM, 2007, p. 28-29. Museums , FEAM, 2007, p. 28-29. 2 «Los museos estatales ante el reto de su futuro», 2 Los museos estatales ante el reto de su futuro [State Actas del curso Museos y sociedad: sociedad y Museums facing the challenge of their future] , Minutes museos. Cursos sobre Patrimonio Histórico, 13. Actas of the Course on Museums and Society : Society and de los XIX cursos monográficos sobre el Patrimonio Museums. Courses on Historical Heritage , 13. Minutes of 4 Histórico (Reinosa, julio 2009) , Santander, 2009, pp. the XIX monographic courses on Historical Heritage 5 100 412-413. (Reinosa, July 2009) , Santander, 2009, pp. 412-413. AÑOS NO ES NADA a todos a reflexionar «sobre el grado de present themselves as they were. And this is inocencia de nuestros museos o de los que the reason why he invited all of us to reflect visitamos, así como de la pasión con la que “about the innocence of our museums or of exponemos nuestras colecciones, de las the visitors, as well as the passion of our historias que nos atrevemos a contarles a exhibitions, of our stories that we dare to tell nuestros visitantes y, sobre todo, si les our visitors and, above all, if we offer enough ofrecemos suficientes urdimbres/tramas y plots/stories and different alternatives for alternativas para que piensen por cuenta them to have different opinions and to create propia, creando su propio final, feliz o no» 3. their own happy or unhappy end of the story” 3. Pasión, poesía y su experiencia como Santiago used his passion, poetry and his contador de historias no inocentes aplicó experience as a teller of non-innocent stories Santiago a los proyectos que se pusieron en for his projects that were launched during his marcha durante su etapa como subdirector. time as Deputy Director. Some of them, as in Algunos, como en tantas ocasiones, se so many occasions, were fallen by the wayside quedaron por el camino, pero de todos but we learnt something from all of them: aprendimos algo de su mano: Centro National Visual Arts Center at the former Nacional de Artes Visuales en la antigua sede headquarter of the Tobacco Factory; National de la Fábrica de Tabacos; Museo Nacional de Museum of Toledo, symbiosis of the many Toledo, compendio de las muchas ciudades cities Toledo has represented along its history que Toledo ha sido a lo largo de la historia y and National Museum of Ethnography, with Museo Nacional de Etnografía, con sede en the headquarter in Teruel and where he had Teruel, y en el que puso una especial ilusión special illusion because he saw there the porque en él veía la oportunidad para dotar opportunity to provide “the soul and heart the «del alma y el corazón que nunca tuvieron old collections of Hoyos Sainz and Caro Baroja las viejas colecciones de Hoyos Sainz y Caro never had ”4 and the opportunity to support Baroja» 4 y contribuir a la revitalización de la the revitalization of the Aragonese city. ciudad aragonesa. The Project of the Network of Museums of Ilusionante para Santiago fue el proyecto de la Spain was so exciting for Palomero, what he Red de Museos de España, que concibió como considered to be a fractal network, able to una red fractal, capaz de restablecer las reestablish the inter-territorial relations of the relaciones interterritoriales de los museos de Museums of Spain with a new model that España con un nuevo modelo que pusiera de could show “the important role of these manifiesto «el importante papel que juegan institutions as promoters of the critical estas instituciones como impulsoras de la awareness of the citizenship and as a conciencia crítica de la ciudadanía y como reflection of the strong and united country of reflejo de una España unida y plural» 5, en Spain ”5, in accordance with the main axis of consonancia con la idea del poder vertebrador culture and museums he used to defend. de la cultura y los museos que defendía. 3 “¿ Son los museos inocentes ?” [Are Museums 3 «¿Son los museos inocentes?», SMS. Somos Museos. Innocent?] , SMS. Somos Museos [We are Museums] . Bole8n de la Subdirección General de Museos Gazette of the General Sub-Directorate of State Estatales , diciembre 2011. Museums , December 2 011. 4 Recensión de San:ago Palomero sobre el libro de 4 Review of Santiago Palomero about the Book of Concha Concha Mar;nez Latre, Musealizar la vida co7diana: Martínez Latre, Musealizar la vida cotidiana: los museos los museos etnológicos del Alto Aragón , en etnológicos del Alto Aragón [Latre.
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