draft Sharon Interview complete
My. Name is Sharon Lebanon, I'm on the contemporary art curator who sold out they live in Lima min. With Miley and. Florence. Invited, me to talk about the gluten-free art collections, here I'm actually the origin, of the collections, and the work we're doing at the Mali. First. Of all I think it's important, to say that the mind is. A, panoramic, Museum, it holds a collection that, spans. From the pre-columbian, times until, the present, and the. Originally. Named, is over. 16 years old, it. Was founded. In 1954. As an association and. The. Beginning. Of the collection is. Actually formed, around a big bequest, given. By fair trial work teaching was, a an, important. Intellectual. And we. Will say all the work as well from the beginning of the 20th century and his, collection he donated more than 2,000. Objects, that. Spans from pre-columbian, trained steel what. Was this, he's, contemporary, written, for a night I will. Say that, means the, Belle époque and on the 1920s. So. These big requests, kinda, greens. The. Character, to the collection, so the collection suzanne. Aims. To cover a. Certain. Kind, of history, of art. In. Painting but. It has. Kind. Of updated, itself or or he formulated, itself, throughout. The years so for. A long long time. This. Was the core. Of the collection, but, later on three, different donations. From, private collectors. And, even, artists, the. Collection, collection started, 15 and. Through. Time. It. Got more, professionalized. In a way so different. Academic themes. And different, professionals. Have. Been revising, the trembling of the collection, twelve years and in the. 2007. And. Specialized. Committee, on contemporary, art was built and. The. Museum started, doing specific. Positions. That formed the contemporary, collection didn't exist before, and, that, that their collection. Community. At the service community. Tries. To operate, on the basis, of credit, for consensus. So. It's. A team of curators and, local curators, that try. To we're, in. A way a, core. Quantify. Certain. Crucial points, in local art history from. Formative, years and then propose, different positions, in a way what, happens with the collection of how the collection for us to define itself. The. Historic, collection, as well as a contemporary collection. If. There's a local collection, it doesn't try or, consciously. Try tries, to avoid the, notion of proven, art between. Quotation marks. Because. We. Try to avoid any kind of. Reduction. Or essentialist, way, to define. Our. Through. The, criteria of motion states know by. Chilean poles in the nation simply by the idea of an agency, through. Being in a way it's a very, reductionist. Er so. Consciously. The, collection tries to be local, in a way but we, being local, meaning. That it responds, to a local community and France to tell story about. A social, as a certain social history, through, its visual, culture for. A local community in that way. It. Tries also, to be international, it connects in another way with. What, has. Been. Internally. Called as amplified. Audiences. In a way so, those. Mega labels, of proven artists, approving art or any, kind of category, linked to a. Different. Time frames it's. Being revisited in, a certain way an example. Would be for. Just-just-just. To, begin would be the. Incorporation. Of photography, as one of the categories. For the collection, that predates. The earth the building of the contemporary, collection, for. Acquisitions, committee, for. It something photography, wasn't considered. An. Art form or an art practice. Or. A long term in. The world but in particular. It wasn't considered part of the of. The collection. Until. The maintance, or mid. Nineties, although. We had a big, bequest of photography. From, a local photography. Safari but, it was until the 90s, that the the curators, if because. We didn't have actually, computers. Before before. That even, deserves. Revising, the privilege of the collection, and then through. Research, process, they did I have my thought documentos. And then started. Building a case for the inclusion, photography. As a valid, form of art for. The collection, and. But. That was also I mean and that was the beginning of an extended. Notion. Of what art is for the collection but still. Based, on a medium right. So. That. Was also. Later. On seeing, as that we, reduced. Or. Limited. Form under standard practice, and for example with time. Different. Exhibitions have been made that, are based on photography, but on different kinds of photography, like in illuminating.
Photography, Which is a form of of. Again petition, my popular. Form for tourism the endings that has, much. To do, with the history of photography as. Painting. In, London region no. Conduct means of crossovers. Are important, for us in. Fact the second floor that. Holds the permanent, collection, of historic collection that goes, from trickle I mean times still when, eighteen fifties Arbor I mean. It's called upstairs. Triumph. Of abstraction. Has. Different, points, that allow us to understand, a different way, to see. Peruvian. History and those breaks in terms of the social transformations. Truly for culture, the. Opening. Piece in the second floor is. A news, from the mid-nineteen song free it's. Beyond. Bow which is screen. Paint. Extremely, from an ancient song tree painted. By the painter. Market, we need to patch artists and, it is really interesting because in, a way then it limit Isis the missions of the mission of the museum in, the collection, it. Is a 19th, century representation. Of a genealogy, of the Incas, you. Know like look from the first Inca a succession, of Incas, until the, the. Last Inca, and then the, the king of Spain it's a colonial tradition but, painted, in Republican, times that. Represents. The. Continuity. Of power from the Incas, -, in this case the liver power you. Know process of mapping so. In a way it talks, about the. Look. Into, the passes of the presentation, of power and legitimacy, and. So. In, a way that that is something that crosses a whole collection in the contemporary, collection, which. Is kind of different, it's it, started, in the it. Is the, timeframe for the contemporary collection is, mostly, based, from the 60s, onwards which. Is an arbitrary. Distinction. In a way because it means to begin somewhere and, in somewhere. It began trying, to. Track. For trains, and talking, the ways, in. Which. Artists. Working invading. Responded. To the social transformations. That happen, between the. 1960s. Onwards and. Since it's the nemeth museum it originally, was based more on things, that happened in the city center you, know in. The urban. Transformation of, Lima. The. Ideological. Transformations. That happened in the artistic practices. Since. Not. Many of, 68, which wasn't important, you, know. Moment. For Europe Europe, but, 68. Has a moment in, which any, life on Velasco and morale. Raised. To power which wasn't a particularly internship. From the left here. In Peru since, since Venice was government because it implied as huge transformation. Of social remains coronation, ships pretty, with. A huge agrarian, reform, a redistribution, of power and also and. Really. Important, input, from the government, to. Value. Or bringing, we. Consider. Indigenous. Practices but. Also when. The appropriated. As. A model, for the nation state, in a way in a way it was like a revival, of the medium is most of beginning of the 20th century so, in the. In the wake of the Valastro i whatever we do a lot, of social fields formations have been in the. Visual culture of, the, city and artists, reacted, to this some.
Of Them adopted, it and some of them reacted, to that but in a way it implied a huge. Shift. Of power, forces. In terms of representation. And. Power. Associated with certain images and certain practices, let's, say no, so. From there on, they. Are certain, certainly. Only. The same landmarks. Or, important, movements, from. 68, on what's in the seventies, and early eighties there's. A suit. A huge. Pour, in the collection, that we need stealing, to. Eruption. Of these. Potent. Food popular, imagery, into, artistic, apart practice, are practiced, on even women at the time one. Of the emblematic cases for. Example, collectively. Pays a white coat by, any base of white corn artist collective, that. Started. Challenging. In, a way those, previous. Distinctions. That had happened in the, formal, arts fearing, they do relating. To so-called. Higher Arctic. Muto and so-called. Popular. Art and. Started. Working outside the artistic system, working on the screen it's, responding. In a way to the new social, configuration, of Nemeth a city, that has changed a lot also. Due to internal migrations, from the Institute, to the capital and. From their own there, are different, different lines in the collection, that are explored, in even in the 80s, and 90s there's, a huge core. Of the collection related, to the response that artists, have to the period of violence, due. To the internal armed conflict for. Example, as, I was mentioning people. White or was important, because they started moving into the. New, social, configuration, of meme and the new citizens, that that, started. Forming. The new audiences. In. Your own instance that had a very different. Visual. Background. You, know we own cultural background in. A way but. White, was still. Straight. Instead of UNIX as mentioned many times was still a. Collective. Of. Artists. That stemmed, from a, very, formal. Education. In a way they were letter. Yeah. We could say if they were led for it for a long time by. Francisco, Mario T was, is. A Swiss. Means, proven, artist with. A very unique let's, say. Canonical. Bringing. In terms of contemporary art and. Buildings. Called, white. Go artists, some. Sort of, pequeños. Move this is a loose trousers like between. Illustrating. Were bourgeois. So. Their. Their, way to look into, this. These. Forms. Of the culture. That, were transforming. Leamas. Reality. Was also, filtered, in a way but by other kinds, of of of. Artistic. Practices, that still, are filtered. By. By. This. Looking. To what could. Be considered some sort of high, art, it's. Important, to also go back to a very, very. Interesting. And. Problematic. Local. Discussion that happened in there in, the wake of the or in the mid in the midst of the Velasco Eugene which was. Between, art, and its crafts, that, happened in 1976. It. Was it was a debate, and local debate. That. Occurred, because, the. Government. Gave even national, trials, of, counter. To, cut in Lopez and type who, was a, really. Important, and recognized. Little. Mister from any future which is in the central Andes at Arista is a person who does this, how. Do you translate the W star is. From. Marcos boxes, I don't know and I think that would be the translation, if, they're, very traditional way, to represent. Stories. Or different narratives, on sculptural, way inside. This, portable. Portable. Outers, that's, it.
So. Many many people from local indigenous art. Questioning, the fact that Lopez, and I was leading a national prize of culture, because his his. Work was not considered, art but. It was considered crap so a really, really, seeming, discussion. We think about. Categories. Of what is art and it's not art and I think why. Cook keine operates. In the wake of that discussion, as a, reaction to that kind of discussion, but still, ventures. Into into. That. It's. An evolution, into that line of think in a way. So. The. Museum revises. Its policies. And it's it's it's its. Way of operating, every, now and then that the politics of the collection, and we realized, some time ago that. That. We have been centering, a lot because it's the, mussolini. Museum, it's, a private museum but that, is localized. In Myanmar I, mean we must artistic, scene but, we were overlooking. Perhaps, a lot of the. Of. The regionals, artistic. Scenes and, interview. In looking, into that we identified. That there. Are two big lines of discussion, that cross the, whole. History. Of of. Visual. Culture in the country one of the discussion about in. The Andean region and, the handling legacy, in a way of of, regional, traditions in, the Andes that actually connect us a lot with Ecuador, or Bolivia. In a way and the, other one has to do with the Amazonian. Region as a territory. That. To. Begin with has, a very vibrant. Contemporary. Art scene right now. Remaining. In many caters also as a product. Of local. Agents that have been. Working. Towards contextualized. A. Lot of the production of different. Traditions. In the Amazon contemporary. As well as indigenous. And. Also because we consider, that the the Amazonian, region is an interesting, territory. To. Kind, of deconstruct a lot of the relationships, and. None of the themes that cross the collection, in different ways you know in, terms of talking. About. Like. App and autonomous. Or in discussion, things. That we need we need us to certain. Large practices, in Colombia, or in Brazil for example but. Also in. A way of incorporating. Important. Issues. About how to represent the other how, to how. To talk about territory. And more lives and productive, turns how, to talk about important. Issues regarding. The. Environment. And sustainability. Even, in many ways many many different, lines across a collection and that that. Are being dealt with in, really, interesting way but ways by artists, in VMs.
At, This point we, are trying to, work with. Because. It's very very complicated than you so after aneema starts working in building. These. Needs to be taken with the patient. Marks and Amazonian collection, because that's not the case but. Like like. For example Latin, America, is a strategic, construction. The term Latin America, is, actually, a strategic, construction, that allows us a certain. Reading to me to define itself culturally, speaking, against. Construction, from the north or from Europe because you cannot talk about an. American culture, or one. Latin, American history no, way in the, same way the, idea, of. Looking. Into the culture production, from the Amazon could be seen as a strategic, term to analyze, you. Know. An. Interesting, scene an. Interesting, cultural, production, that includes in a in a different way. Not, all artists. Totals. About, how this is constructed, but also working, from that territory, and. In. Building, this collection we are we. Are trying to, work together with. Different. Advisory. Groups I mean whoever called me different people academics. Artists, indigenous. And non-indigenous but, working in the Amazon to try, to sort, out different, ways on, how, the collection, or how the museum, could. Could. Approach, this or who, could, with resell a certain, kind of scene in a very spectral, but also fair, way. But. The point, is to kind, of avoid, these distinctions, between, indigenous. And non-indigenous, or. Popular. Not popular, but. To try to I. Think. Collects. Things that make sense in that in a bigger narrative for. Example, we could consider one of them one. Of the people that was recently, donated to, the collection, and it's called be like cow so but. Rosalee it's it's a meaning getcha but the translation could be something. Like boost. Blame it, is a really, large painting. Series. So. 32, panels. That. Belongs. To a very particular that. Still original petition. From. The town, of San Juan an, ar-15. The phalanges, and. And. These. Three, things. Actually a. Contemporary. Adaptation of, this petition I would say that they'd speed, dates I mean, dates the influence.
Or End the end. Of. The 19th century. Inside. What people. Tended. To paint, the. Local. History histories. Of, familiar. Traditions. On. How. You recall them whose beams. At 16 houses. If. It's, a local, practice, of a different type fact is that that. That. Transformed. Itself when many. Of the citizens Salwa. Had to my drapes from. My athletes including my due to internal armed conflict, mainly. Because there are towns where the culture was one of the towns. That was more heavily. Between. In. It but was caught in fire in the, fight between Sendero Luminoso and. Vivian. State. And military. So. Many. Dwellers. When a teacher had to migrate had to come to NEMA. Fleeing. From from the violence, and if Sara was one of these sounds that was heavily heavily affected. So. When when the citizens, of Salwa migrated, to NEMA the, tradition also the painted Tibetan tradition of serve also transforms, and instead, of pink. Painting, the beams. They. Start producing these, portable, panels, like this. Transportable. Painting. Also. To mean also, producing. It for sale in. In. A, restricted. Local. Market, for them that was considered popular art in a way. So. In, the nineteen, nineties. When, on Tripoli gist called pepper Gulf. Commissioned. One. Group. Of painters from Salwa thought that that was. An association, of popular. Painters, of Sarawak, that. To. To. Produce a series that when friend. Related. What they have lived. During. The armed conflict and it is a really, really interesting in, heartbreak. Visual. Testimony, of the violence painted, in this traditional form of salvo and. It. Is really special because it's not. Crafts. Per se it is it is, historical. Painting. Series in. Its own and. God. Had to take the series away that, he. Had to smuggle it out of a Purdue in the 90s, because he was afraid, that. About. The recommendations. Of, the. Fujimoto government, actually, against. The painters, of Salwa and himself because some of the contents, of the, panels, were really, really. Shocking. In a really violent, and brutal in, terms of the actions of the military inside. A. Year, and half ago this. Owen. NGO, in the United States that at the the series in custody, for the last 20. Years decided. To, return. It to pity because it was time for the, local, population to, actually see, his. His painted, series I mean. What happened is that. They. Decided that the Lima, regime was a. Good, home frame because of the, lines. That we are dealing with in the collection, regarding, precisely, this historic. Period and. What happens is that in the process of importing, the pieces, they, got observed, by. Customs. And then. Bye-bye. Howdy. Safest, an year some. Prosecutors, because. It was. Considered. Think might have some. Elements, of one. Sports year full of hearings and there is no it's called some sort of apology, to terrorism or something like that so the. Series got into investigation, for a while and it was immobilized. And, kind of occurred. The, process was being solved. By the museum, explaining, that this is an art form and it is actually the testimonials. Of victims, of the violence additional, testimonial victims of the violence but. In. The. First. In the lair of a collection in, the different. New. York positions, of American, donations we accept we're trying to unpack these issues constantly. So. To go back to the beginning just to close the presentation, the. Idea that, we don't work with Bolivian, artifice, and emotional. Consideration. Is essential, essentialist. In order for reduction, is create, yes respect, an image of Peru through. Its little. Culture. That. China. Gathers. Or puts. Into dialogue, or. Frictions. In a way of different, positions from different communities, in a very, heterogeneous. Context. So. Behavior. Has to, be. Sun up a little bit if, you have been in discussing what I have been telling you in, the representation. About. The. Romani's. Collection. And the nature of my collection. As something, based on, a, very. Particular. Founding. Character. Either way you know as a. Collection. That has that very heavy. Mark. But by some. Sort of colonial, heritage in the sense that it's invisible monocle, collection, in the 19th century collection.
But. In particular, a. Collection. That was formed, on. Western, 18 years on, art, and what what art is and, how. Art develops, in time you, know a modern notion, of development, you know in a way forward. Tonight and. How. From. From. The different collections not only the contemporary, collection from, the different collections I mean particular. I can speak about the contemporary, collection. How. We're trying to. Revise. Some, of, the notions that, are managed, in the collection some of the premises. That. Allow, to define what is art and not on for food like video and. In. Terms of a contemporary, collection for example when it was originally. Built. The, acquisitions, community, the. Premise, was to gather. More like these things, that. Spoke, about local. Transformations, in Mena but. Also in, a way to expand, the notion of. Of. Home. You see. Bows. Are you, this, idea of, different. Practices. Based on mediums, and things that have prevailed, in the local understanding, of what art is for a long time and. So. Doing, cooperate is foolish it's. Something of no photography. Sake specific, work, I don't. Know performance. You. Name it based. On local topics, but still but, still considering. A very very. Particular notion, that it's a Western notion on what content where you are. Is, in. International terms, in. A way, or. The, discussions, about knocks it when he's won or you, know for. Art not supply means no conceptual, art and those, categories, that are there are crossing. This. Reel the. Recent history of art and. In. A way in revised seeing you, reminds me of the collection, in revising those principles, once we have managed, to cover certain. Particular. Period, solve the, local, artistry Mema and in started opening up to see, what other it seems we were leaving behind it, forced. It. Forced, us to start, considering. Expanded. Notions, on on what has been considered art for, the, money and the collections, things that previously, have, been considered, as popular, art of forms of art, that are not. Look. That have not been lovely. Associated. With both sides with the traditional idea of the both side in, an expanded, feel with cultural, fields, will solve the production, removing of certain indigenous populations. Or. With. Ervin. Ervin, regional, songs very simple like didn't eat those not painful from Iquitos, or. You know the, sumo provisions just, just just to mention a few have. Allowed us to. To. Start, us, off. Critical, process on how we approach things, and, to be critical, with our own premises, I think that's the path we're going into. Right. Now and, I think it's important also to consider that. Indigenous. Art. Production isn't anything, pure, either it's it's also product of mr. staff in a way there are any languages, that are being revealed and are being transformed, according to the, social transformations also, of the different communities that that produce no, likely.
Example Of atomism, well that I was mentioning. Before here's. A tradition, that has transformed, through. The process, of migration of the. Citizens, of Sarawak, or the dwellers of Sanwa from. The appropriate, diversity, of Lima the, same thing happens with a lot of. Painters. For. Example Shapiro painters, know like or. We, thought of favorites from the movie anonymously they, invented. New languages, just to try to represent. Different. Traditions, in, a compelling visual way. So. These are the things we're trying to unpack, right now and negotiate. With always. Trying to. In. A way for tre or, we made the complexities. Of the, visual. Production, in a very thorough genius, and, complexes.