Materiality between mind and hands. Some approaches to native creativity in Colonial South America. Una arqueología del hacer para el arte colonial andino. Casos y perspectivas metodológicas

GABRIELA SIRACUSANO

Denver

Simposio; XVIII Simposio del Mayer Center for PreColumbian and Spanish Colonial Art; 2018

Denver Museum of Art/Mayer Center for PreColumbian and Spanish Colonial Art

For decades, discourses about Spanish American art history were held on the basis of many of these parameters. While it is now possible to notice how new theoretical and conceptual approximations anchored in the acceptance of otherness, the diversity of divergent and simultaneous aesthetics, and the untranslatability of the visual/textual regimes of one culture to another one, have allowed to trace a new critical-aesthetic cartography on all these productions, many written and visual tales still drag these preconceptions, most of the time behind the assignment of qualities such as naivety and simplicity in the beauty of its forms, or simply hidden in an extremely pious and compassionate look to give them a space in the curatorial lands of the ethnographic and colonial museums but not so much as to share the room with the artifacts, paintings and Sculptures in the museums of fine arts of the world.