{"id":64745,"date":"2017-08-21T00:06:03","date_gmt":"2017-08-20T22:06:03","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=64745"},"modified":"2023-05-18T07:48:33","modified_gmt":"2023-05-18T05:48:33","slug":"del-derrumbe-la-estatua-pedro-hernandez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/del-derrumbe-la-estatua-pedro-hernandez\/","title":{"rendered":"[:es]Del derrumbe de la estatua | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Do derrube da estatua | Pedro Hern\u00e1ndez[:en]Of the precipice of the statue | Pedro Hern\u00e1ndez[:]"},"content":{"rendered":"

[:es]

\"Del
En julio de 1957, un sismo de 7.7\u00ba Richter provoc\u00f3 la ca\u00edda del \u00c1ngel y la destrucci\u00f3n de la escultura original | Fuente: wikipedia<\/a><\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cConstruidle un monumento al monumento\u201d, <\/strong><\/p>\n<\/blockquote>\n

rezaba una de las portadas de la revista de cr\u00edtica de arte Ca\u00edn<\/em>. Justo casi al mismo tiempo que sal\u00eda esta publicaci\u00f3n, se presentaba oficialmente el \u00faltimo trabajo del artista mexicano Sebasti\u00e1n: el Guerrero Chimalli<\/em>, una enorme escultura de color rojo de 60 metros de altura, 870 toneladas de peso y 35 millones de pesos de presupuesto, ubicada en Chimalhuac\u00e1n y que, en palabras del gobernador Eruviel \u00c1vila,<\/p>\n

\n

\u201cproteger\u00e1 a los habitantes de Chimalhuac\u00e1n de la pobreza\u201d.<\/p>\n<\/blockquote>\n

Los monumentos, s\u00edmbolos de orgullo identitario, se erigen, alzan y levantan hacia el cielo en distintas circunstancias a lo largo de la historia a fin de comunicar y construir en torno a ellos las nociones de patria, cultura, religi\u00f3n y sociedad. Su funci\u00f3n es la de detener el tiempo, ralentizarlo tanto como para que nadie olvide un hecho o acontecimiento relevante para una comunidad. Su funci\u00f3n es la de petrificar los discursos de poder, emitir cual altavoz un mensaje de glorias pasadas pero tambi\u00e9n la de negar otras historias, taparlas y ocultarlas para permitir s\u00f3lo una, normalmente triunfante, destinada a la exaltaci\u00f3n de unos pocos. Por eso son tan interesantes, pol\u00e9micos y conflictivos. Los monumentos aplanan el espacio p\u00fablico y evitan la posible apropiaci\u00f3n simb\u00f3lica de otras narrativas indeseadas. Construir un monumento a favor de ciertos ideales significa siempre aplastar otros. Por ello, y aun sin pretenderlo, Guerrero Chimalli <\/em>es tanto un escudo<\/em> frente a la pobreza como una demostraci\u00f3n clara y aberrante del funcionamiento de las pol\u00edticas p\u00fablicas en M\u00e9xico, m\u00e1s interesadas en la construcci\u00f3n de s\u00edmbolos poderosos que en una aut\u00e9ntica soluci\u00f3n de los problemas que los desbordan.<\/p>\n

Y al tiempo que se presentaba la \u00faltima obra de Sebasti\u00e1n, su nombre aparec\u00eda tambi\u00e9n como parte de la muestra colectiva que se desarrolla en el Museo de Arte Contempor\u00e1neo de la UNAM: El derrumbe de la estatua. Hacia una cr\u00edtica del arte p\u00fablico<\/a> (1952-2014)<\/em>, curada por Jos\u00e9 Luis Barrios<\/a> y que elabora una relectura de la colecci\u00f3n MUAC y sus colecciones asociadas. Barrios expone el trabajo del escultor chihuahuense y de otros artistas que desarrollaron parte de su pr\u00e1ctica durante la segunda mitad de siglo xx \u2014entre los que se incluyen nombres como David Alfaro Siqueiros<\/a>, Helen Escobedo<\/a>, Diego Rivera<\/a>, Francis Al\u00ffs<\/a>, Dami\u00e1n Ortega<\/a>, Teresa Margolles<\/a> o Eduardo Abaroa Hidalgo<\/a>\u2014 como muestra de la manera en que el concepto de arte p\u00fablico se ha transformado en los \u00faltimos 60 a\u00f1os.<\/p>\n

M\u00e9xico es uno de los mejores ejemplos donde un arte con voluntad social fue transformado en instrumento pol\u00edtico. La escultura, la pintura y la arquitectura, mediante el fen\u00f3meno de la integraci\u00f3n pl\u00e1stica, produjeron espacios decorados con murales que estaban cargados de mensajes \u00e9picos que mitifican historias y producen \u201cespacios santificados\u201d, separados de la realidad, desde donde es posible exaltar y orientar el imaginario nacional hacia determinados intereses. Frente a esto, Barrios defiende que<\/p>\n

\n

\u201cel arte de la segunda mitad del siglo xx en M\u00e9xico ha querido subvertir estas pr\u00e1cticas del arte que buscan instrumentalizar a las personas, el pasado y los sucesos importantes para una sociedad\u201d.<\/p>\n<\/blockquote>\n

Las propuestas art\u00edsticas de la exhibici\u00f3n cargan contra el monumento, con intervenciones y propuestas que<\/p>\n

\n

\u201ctienen por finalidad la interacci\u00f3n entre los individuos con sus espacios y no la contemplaci\u00f3n distante de los monumentos\u201d.<\/p>\n<\/blockquote>\n

El derrumbe simb\u00f3lico que propon\u00eda la muestra mexicana resonaba al otro lado del atl\u00e1ntico, en Barcelona, donde se desarroll\u00f3 en el MACBA, hasta febrero de 2015, la exposici\u00f3n Nonument<\/em><\/a>. En un contexto como el de la Catalu\u00f1a actual, tan necesitado, seg\u00fan sus pol\u00edticos, de nuevos s\u00edmbolos patrios, la muestra aparece como una cr\u00edtica necesaria a las pretensiones nacionalistas de los \u00faltimos a\u00f1os. \u00bfEn qu\u00e9 medida una estatua construye identidad? \u00bfDe qu\u00e9 forma es \u00e9sta capaz de representar los anhelos del conjunto de la comunidad?<\/p>\n

\n

\u201cLos monumentos esconden cierta apropiaci\u00f3n del espacio colectivo, cierto secuestro de la memoria social. [\u2026] \u00bfQui\u00e9n sustenta un monumento? \u00bfQui\u00e9n lo legitima? \u00bfC\u00f3mo emerge? \u00bfDe qu\u00e9 manera arraiga en la comunidad y en el espacio p\u00fablico?\u201d.<\/p>\n<\/blockquote>\n

La exposici\u00f3n invita a arquitectos, dise\u00f1adores y artistas a reflexionar sobre c\u00f3mo se puede incidir hoy, desde las pr\u00e1cticas del arte, en los problem\u00e1ticos v\u00ednculos entre acontecimiento, conmemoraci\u00f3n y ciudad.<\/p>\n

La ciudad, cuestionan ambas exposiciones, es el resultado de un conjunto enmara\u00f1ado de factores. El monumento organiza, reduce la contingencia urbana y niega, a la larga, las posibilidades de disenso. Al menos hasta que, tal y como retoma el artista catal\u00e1n Dom\u00e8nec en el MACBA, un grupo social decida atacarlo y derrumbarlo por la fuerza.<\/p>\n

Su propuesta, un pedestal vac\u00edo, es al mismo tiempo, imagen de un cambio, de un fin de ciclo, pero tambi\u00e9n un lugar por llenar, como si un monumento ca\u00eddo fuera en s\u00ed otro monumento, otra manifestaci\u00f3n pol\u00edtica, que corre el riesgo de acabar tan petrificada como la estatua que antes se alzaba ah\u00ed.<\/p>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nCiudad de M\u00e9xico. septiembre 2015<\/p>\n

[:gl]

\"En
En xullo de 1957, un sismo de 7.7\u00ba Richter provocou\u00a0a ca\u00edda dun Anxo e a\u00a0destrucci\u00f3n da escultura orixinal | Fonte: fahrenheitmagazine.com<\/a><\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cConstru\u00eddelle un monumento ao monumento\u201d, <\/strong><\/p>\n<\/blockquote>\n

rezaba unha das portadas da revista de cr\u00edtica de arte Ca\u00edn.<\/em> Xusto case ao mesmo tempo que sa\u00eda esta publicaci\u00f3n, present\u00e1base oficialmente o \u00faltimo traballo do artista mexicano Sebasti\u00e1n: o Guerreiro Chimalli<\/em>, unha enorme escultura de cor vermella de 60 metros de altura, 870 toneladas de peso e 35 mill\u00f3ns de pesos de orzamento, situada en Chimalhuac\u00e1n e que, en palabras do gobernador Eruviel \u00c1vila,<\/p>\n

\n

\u201cprotexer\u00e1 aos habitantes de Chimalhuac\u00e1n da pobreza\u201d.<\/p>\n<\/blockquote>\n

Os monumentos, s\u00edmbolos de orgullo identitario, er\u00edxense, alzan e levantan cara ao ceo en distintas circunstancias ao longo da historia a fin de comunicar e constru\u00edr ao redor deles as noci\u00f3ns de patria, cultura, relixi\u00f3n e sociedade. A s\u00faa funci\u00f3n \u00e9 a de deter o tempo, retardalo tanto como para que ningu\u00e9n esqueza un feito ou acontecemento relevante para unha comunidade. A s\u00faa funci\u00f3n \u00e9 a de petrificar os discursos de poder, emitir cal altofalante unha mensaxe de glorias pasadas pero tam\u00e9n a de negar outras historias, tapalas e ocultalas para permitir s\u00f3 unha, normalmente triunfante, destinada \u00e1 exaltaci\u00f3n duns poucos. Por iso son tan interesantes, pol\u00e9micos e conflitivos. Os monumentos aplanan o espazo p\u00fablico e evitan a posible apropiaci\u00f3n simb\u00f3lica doutras narrativas indeseadas. Constru\u00edr un monumento a favor de certos ideais significa sempre esmagar outros. Por iso, e a\u00ednda sen pretendelo, Guerreiro Chimalli<\/em> \u00e9 tanto un escudo fronte \u00e1 pobreza como unha demostraci\u00f3n clara e aberrante do funcionamento das pol\u00edticas p\u00fablicas en M\u00e9xico, m\u00e1is interesadas na construci\u00f3n de s\u00edmbolos poderosos que nunha aut\u00e9ntica soluci\u00f3n dos problemas que os desbordan.<\/p>\n

E \u00e1 vez que se presentaba a \u00faltima obra de Sebasti\u00e1n, o seu nome aparec\u00eda tam\u00e9n como parte da mostra colectiva que se desenvolve no Museo de Arte Contempor\u00e1nea da UNAM: O derrube da estatua. Cara a unha cr\u00edtica da arte p\u00fablico<\/em><\/a> (1952-2014), curada por Jos\u00e9 Luis Barrios<\/a> e que elabora unha relectura da colecci\u00f3n MUAC e as s\u00faas colecci\u00f3ns asociadas. Barrios exp\u00f3n o traballo do escultor chihuahuense e doutros artistas que desenvolveron parte da s\u00faa pr\u00e1ctica durante a segunda metade de s\u00e9culo xx ?entre os que se incl\u00faen nomes como David Alfaro Siqueiros<\/a>, Helen Escobedo<\/a>, Diego Rivera<\/a>, Francis Al\u00ffs<\/a>, Dami\u00e1n Ortega<\/a>, Teresa Margolles<\/a> ou\u00a0Eduardo Abaroa Hidalgo<\/a>\u2014\u00a0como mostra da maneira en que o concepto de arte p\u00fablica transformouse nos \u00faltimos 60 anos.<\/p>\n

M\u00e9xico \u00e9 un dos mellores exemplos onde unha arte con vontade social foi transformado en instrumento pol\u00edtico. A escultura, a pintura e a arquitectura, mediante o fen\u00f3meno da integraci\u00f3n pl\u00e1stica, produciron espazos decorados con murais que estaban cargados de mensaxes \u00e9picas que mitifican historias e producen \u201cespazos santificados\u201d, separados da realidade, desde onde \u00e9 posible exaltar e orientar o imaxinario nacional cara a determinados intereses. Fronte a isto, Barrios defende que<\/p>\n

\n

\u201ca arte da segunda metade do s\u00e9culo xx en M\u00e9xico quixo subverter esta pr\u00e1cticas da arte que buscan instrumentalizar \u00e1s persoas, o pasado e os sucesos importantes para unha sociedade\u201d.<\/p>\n<\/blockquote>\n

As propostas art\u00edsticas da exhibici\u00f3n cargan contra o monumento, con intervenci\u00f3ns e propostas que<\/p>\n

\n

\u201cte\u00f1en por finalidade a interacci\u00f3n entre os individuos cos seus espazos e non a contemplaci\u00f3n distante dos monumentos\u201d.<\/p>\n<\/blockquote>\n

O derrube simb\u00f3lico que propo\u00f1\u00eda a mostra mexicana resoaba al\u00e9n do atl\u00e1ntico, en Barcelona, onde se desenvolveu no MACBA, ata febreiro de 2015, a exposici\u00f3n Nonument<\/em><\/a>. Nun contexto como o da Catalu\u00f1a actual, tan necesitado, segundo os seus pol\u00edticos, de novos s\u00edmbolos patrios, a mostra aparece como unha cr\u00edtica necesaria \u00e1s pretensi\u00f3ns nacionalistas dos \u00faltimos anos. En que medida unha estatua constr\u00fae identidade? De que forma \u00e9 esta capaz de representar os anhelos do conxunto da comunidade?<\/p>\n

\n

\u201cOs monumentos esconden certa apropiaci\u00f3n do espazo colectivo, certo secuestro da memoria social. […] Quen sustenta un monumento? Quen o lexitima? Como emerxe? De que maneira arraiga na comunidade e no espazo p\u00fablico?\u201d.<\/p>\n<\/blockquote>\n

A exposici\u00f3n convida a arquitectos, dese\u00f1adores e artistas a reflexionar sobre como se pode incidir hoxe, desde a pr\u00e1cticas da arte, nos problem\u00e1ticos v\u00ednculos entre acontecemento, conmemoraci\u00f3n e cidade.<\/p>\n

A cidade, cuestionan ambas as exposici\u00f3ns, \u00e9 o resultado dun conxunto enmara\u00f1ado de factores. O monumento organiza, reduce a continxencia urbana e nega, a longo prazo, as posibilidades de disenso. Polo menos ata que, tal e como retoma o artista catal\u00e1n Dom\u00e8nec no MACBA, un grupo social decida atacalo e derrubalo pola forza.<\/p>\n

A s\u00faa proposta, un pedestal baleiro, \u00e9 ao mesmo tempo, imaxe dun cambio, dun fin de ciclo, pero tam\u00e9n un lugar por encher, coma se un monumento ca\u00eddo f\u00f3ra en si outro monumento, outra manifestaci\u00f3n pol\u00edtica, que corre o risco de acabar tan petrificada como a estatua que antes se alzaba a\u00ed.<\/p>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nCidade de M\u00e9xico. setembro 2015<\/p>\n

[:en]

\"En
In july,\u00a01957, an earthquake of\u00a07.7\u00ba Richter provoked the fall of the\u00a0\u00c1ngel and the destruction of the orginal\u00a0sculpturs | Source: fahrenheitmagazine.com<\/a><\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cConstruct a monument him to the monument\u201d,<\/strong><\/p>\n<\/blockquote>\n

it was saying one of the front pages of the magazine of critique of Ca\u00edn<\/em> art. I joust almost at the same time as this publication was going out, one was presenting officially the last work of the Mexican artist Sebasti\u00e1n: the Warrior Chimalli<\/em>, an enormous sculpture of red color of 60 meters of height, 870 tons of weight and 35 million weight of budget, located in Chimalhuac\u00e1n and that, in words of the governor Eruviel \u00c1vila,<\/p>\n

\n

\u201cIt will protect the inhabitants of Chimalhuac\u00e1n of the poverty\u201d.<\/p>\n<\/blockquote>\n

The monuments, symbols of pride identitario, they are raised, lift and raise towards the sky in different circumstances along the history in order to report and to construct concerning them the notions of mother land, culture, religion and company.\u00a0His function is it of petrifying the speeches of power, issues which loudspeaker a message of past glories but also her of denying other histories, to cover them and to conceal them to allow only one, normally triumphant, destined for the exaltation of some few ones. Because of it they are so interesting, polemic and troubled.\u00a0The monuments smooth the public space and avoid the possible symbolic appropriation of other unwanted narratives. To construct a monument in favour of certain ideal means always to squash others. For it, and even without claiming it, Warrior Chimalli<\/em> is so much a shield opposite to the poverty as a clear and aberrant demonstration of the functioning of the public policies in Mexico, more interested in the construction of powerful symbols that in an authentic solution of the problems that exceed them.<\/p>\n

And at the time that one was presenting Sebasti\u00e1n’s last work, his name was appearing also as part of the collective sample that develops in the Museum of Contemporary Art of the UNAM: The precipice of the statue. Towards a critique of the public art (1952-2014)<\/a><\/em>, treated by Jos\u00e9 Luis Barrios<\/a> and that elaborates a rereading of the collection MUAC and his associate collections. Neighborhoods it exposes the work of the sculptor chihuahuense and of other artists who developed part of his practice during the second half of century xx – between that names are included as David Alfaro Siqueiros<\/a>, Helen Escobedo<\/a>, Diego Rivera<\/a>, Francis Al\u00ffs<\/a>, Dami\u00e1n Ortega<\/a>, Teresa Margolles<\/a> or\u00a0Eduardo Abaroa Hidalgo<\/a>– as sample of the way in which the concept of public art has transformed in the last 60 years.<\/p>\n

Mexico is one of the best examples where an art with social will was transformed into political instrument. The sculpture, the painting and the architecture, by means of the phenomenon of the plastic integration, produced spaces decorated with murals that were loaded with epic messages of that mitifican tell the history and they produce \u201cspaces sanctified\u201d, separated from the reality, from where it is possible to exalt and to orientate the imaginary native towards certain interests. Opposite to this, Neighborhoods it defends that<\/p>\n

\n

\u201cthe art of the second half of the century xx in Mexico has wanted to subvert these practices of the art that seek to carry out the persons, the past and the important events for a company\u201d.<\/p>\n<\/blockquote>\n

The artistic offers of the exhibition load against the monument, with interventions and offers that<\/p>\n

\n

\u201cthey take the interaction as a purpose between the individuals with his spaces and not the distant contemplation of the monuments\u201d.<\/p>\n<\/blockquote>\n

The symbolic precipice that was proposing the Mexican sample was resounding to another side of the Atlantic one, in Barcelona, where there developed in the MACBA, until February, 2015, the exhibition Nonument<\/em><\/a>. In a context as that of the current Catalonia, so needy, according to his politicians, of new native symbols, the sample appears as a necessary critique to the nationalistic pretensions of last years. In what measure does statue construct identity? Of what form is it this one capable of representing the longings of the set of the community?<\/p>\n

\n

\u201cThe monuments hide certain appropriation of the collective space, certain kidnapping of the social memory. [\u2026] the one who does sustain a monument? The one who does legitimize it? How does it emerge? Of what way does it take root in the community and in the public space?\u201d.<\/p>\n<\/blockquote>\n

The exhibition invites architects, designers and artists to thinking how it is possible to affect today, from the practices of the art, in the problematic links between event, commemoration and city.<\/p>\n

The city, they question both exhibitions, it is the result of a set entangled of factors. The monument organizes, reduces the urban contingency and denies, eventually, the possibilities of dissent. At least until, as there takes again the Catalan artist Dom\u00e8nec in the MACBA, a social group decides to attack and to demolish it for the force it.<\/p>\n

His offer, an empty pedestal, is at the same time, image of a change, of an end of cycle, but also a place for filling, as if a monument fallen out in yes another monument, another political manifestation, which traverses the risk of finishing so petrified as the statue that before was raising there.<\/p>\n

Pedro Hern\u00e1ndez \u00b7 architect
\nCiudad de M\u00e9xico. september 2015<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] \u201cConstruidle un monumento al monumento\u201d, rezaba una de las portadas de la revista de cr\u00edtica de arte Ca\u00edn. Justo casi al mismo tiempo que sal\u00eda esta publicaci\u00f3n, se presentaba oficialmente el \u00faltimo trabajo del artista mexicano Sebasti\u00e1n: el Guerrero Chimalli, una enorme escultura de color rojo de 60 metros de altura, 870 toneladas de […]<\/p>\n","protected":false},"author":36,"featured_media":64747,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[9577,12449,13028,13025,13027,13030,5907,516,12393,13026,668,13024,5435,859,2081,1241,1278,2048,13029],"class_list":["post-64745","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-monumental","tag-arte","tag-damian-ortega","tag-david-alfaro-siqueiros","tag-diego-rivera","tag-eduardo-abaroa-hidalgo","tag-espacio-privado","tag-espacio-publico","tag-francis-alys","tag-helen-escobedo","tag-historia","tag-jose-luis-barrios","tag-macba","tag-mexico","tag-monumento","tag-sociedad","tag-teoria","tag-teoria-e-historia","tag-teresa-margolles"],"yoast_head":"\n[:es]Del derrumbe de la estatua | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Do derrube da estatua | Pedro Hern\u00e1ndez[:en]Of the precipice of the statue | Pedro Hern\u00e1ndez[:] - 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Desde enero de 2013 resido en la Ciudad de M\u00e9xico donde trabajo como coordinador de contenidos en Arquine.","sameAs":["http:\/\/laperiferiadomestica.tumblr.com\/","https:\/\/www.facebook.com\/pehemar","https:\/\/www.instagram.com\/laperiferia\/","https:\/\/www.linkedin.com\/in\/pedrohm\/","https:\/\/x.com\/https:\/\/twitter.com\/laperiferia"],"url":"https:\/\/veredes.es\/blog\/author\/pedro-hernandez-martinez\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/64745","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/users\/36"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=64745"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/64745\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/64747"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=64745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=64745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=64745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}