Alejandro Sabido Sánchez-Juárez’s scientific contributions

A unque resulte un tanto paradójico, un campo que tra-baja cuerpo a cuerpo con disciplinas científicas como la historia, estética o etnografía no suele llevar un registro puntual de sus acciones. Tanto el desarrollo de mu-seos como el montaje de exposiciones suelen ser actividades inmensamente complejas y desgastantes: la coordinación entre múltiples especialistas, los tiempos de producción, las limitaciones presupuestales y las dificultades inherentes a todo proyecto que conlleve investigación, conservación y difusión del patrimonio cultural suelen llegar a un punto límite con la inauguración. A lo anterior, hay que añadir las dificultades propias del registro y la documentación de diversos productos interdependientes que convergen en un montaje.

In Latin America, recognizing the museum as a legacy, an inherited disciplinary model produced by others, has been solved in a pragmatic way. Current circumstances demand that we acknowledge ourselves in our poetics. Beyond the disenchantment between model and praxis - that the museum shares with other forms of social management - we are interested in proposing a working hypothesis: Our region transforms this heritage not only by its inadequacy in relation to our reality, but also due to the specificity of our needs. The indiscipline or the deviation from the prescriptive schemes derive in actions that transcend the boundaries of the museum concept. In front of a doxa that distributes and assigns roles, the political act occurs when the actant transforms the structure of the network through a poetic of needs. (Cf Zizek, 2005; Latour, 2013) If the creation of any social apparatus (Agamben, 2009) divides between those who produce this machinery and those who operate it, in Latin America, the status of “operators” of an inherited entity is subverted thanks to the creation (poiesis) of devices that emerge from the social needs and that have public participation at their core.