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"The complexities ofthe present scenario ofUnited StatesfLatin American relations have had a definite impact on the rale of curatorial practices vis-à-vis the representation ofLatin [North] American art. The organic vacuum praduced by the crisis of oppositional movements in Latin [North] America, the disappearance of the bi-polar framework that articulated practices of resistance, and their substitution by the neo-liberal market framework, has all but displaced artists and intellectuals fram their traditional rales in the public spheres of their countries. 1 ln their stead, the curator has emerged as the primary agent of a large network of privatized interests. The new conditions have dictated that the curator transform him ar herself into 'a transnational citizen, responsible for a cartography of the dissolution of cultural frontiers.'2 This has implied exchanging the ethical position of the 'resistant critic' for the neutral [ethical] rale of'cultural braker.'" See Yúdice, "Globalización e intermediación cultural", n.p. 2. Ivo Mesquita, CartoBraphíes, Winnipeg Art Gallery, 1993, PP.13-62.
1.
Extracted fram Mari Carmen Ramírez, "Brakering identities: art curators and the politics of cultural representation", in Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne, eds., Thinking about Exhibítions, New York: Routledge, 1996. Geoffrey James The fence at Tijuana A cerca em Tijuana díptico da série Running fence Cerca 1997 fotografia preto-e-branco [black and white photograph]
117 Canadá e Estados Unidos Ivo Mesquita