Una flor (modernidad) marchita
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<jats:p>ResumenEsta segunda parte, de la reflexión acerca del tiempo/espacio en la escena artística local moldeada por determinantes históricas de finales de siglo XX y principios del XXI, discute la insistencia de la clase media intelectual y del mundo del arte en revisitar momentos fundacionales de la nación tales como las expediciones científicas, tendencia que tal vez se explica por la nostalgia o interés de reclamar una modernidad incompleta. Se trata quizás, de un síntoma de esquizofrenia social y, a la vez, de una sensibilidad que en lo retro busca entender el presente que vive la nación. Esta sección hace una lectura comparada del trabajo de las artistas María Elvira Escallón (1954) y Libia Posada (1961) quienes desde una perspectiva múltiple dan cuenta de situaciones del contexto nacional relacionadas con el estado de lo público y su interacción con el mundo doméstico. Su trabajo revela el deterioro de esa modernidad en el ejercicio de lo patrimonial (duro) y del cuerpo (blando), y que mediante modelos de inclusión y participación en el espacio del arte, posibilita la emergencia de prácticas como las del arte situado (site specific) y en relación, que hacen contrapeso por su énfasis en lo procesual, efímero a lo puramente objetual y de mercado. </jats:p>
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Rojas Sotelo, Miguel (n.d.). Una flor (modernidad) marchita. Estudios Artísticos, 1(1). pp. 82–82. 10.14483/25009311.10249 Retrieved from https://hdl.handle.net/10161/19650.
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Miguel Rojas Sotelo
Miguel Rojas-Sotelo works at the intersection of critical human geography, ethnic studies, visual anthropology, environmental and health humanities and cultural theory. As scholar, filmmaker, visual artist, and media activist he studies how communities of color (indigenous and migrants) and natural spaces are shaped by modernity and how they mobilize to adapt and resist. He is particularly interested in how such people(s) articulate their archival knowledge, racial and class politics, the spatiality of those processes, and how they are manifest in the landscape via visual, audiovisual, oral, and textual narratives.
Miguel Rojas-Sotelo, is a doctor (PhD) in Visual Studies, Contemporary Art, and Cultural Theory; with a M.A in Modern and Contemporary Art (U. Pittsburgh) and MFA on Visual Arts (U. de los Andes, 1995). His bachelor's degree is in visual arts with sub-major in History and Philosophy.
Miguel was the Colombian Ministry of Culture first Visual Arts Director (1997-2001), where he worked building participatory cultural policy. Miguel has worked independently as film maker, curator, author, and critic ever since.
His areas of interest are: environmental visual humanities, health humanities, intercultural visualities, contemporary art and subaltern studies, the global south and decolonial aesthetics.
Currently works and teaches at the Duke University Center for International and Global Studies and Center for Latin American and Caribbean Studies (is also affiliated with the Consortium in Latin American and Caribbean Studies with UNC Chapel Hill). Miguel was visiting faculty at Duke Kunshan University at the International Master in Environmental Policy (IMEP) and the undergraduate program. Miguel is a fellow Nicholas School of the Environment fellow.
Miguel is founder of Water Towns Environmental Film and Arts Festival . 环保电影艺术节(China), and director of the NC Latin American Film and New Media Festival (USA). At Duke-UNC consortium Miguel coordinates interdisciplinary working groups, directs the Hemispheric Indigeneity project, co-directs and co-leads the Working Group on Environmental Humanities: Narrating Nature at Duke University, also is affiliated to the Health Humanities Lab.
Miguel won the 2017-2018 National Prize in Art and Essay Criticism for his essay Soberanía Visual (Visual Sovereignty) awarded by the Colombian Ministry of Culture and Los Andes University. In 2017 also published his book IRRUPCIONES | COMPRESIONES | CONTRAVENCIONES about cultural policy in Colombia. In 2018 Miguel was co-president of EILA V (Continental Encounter of Indigenous Arts and Literatures), held in Bogota, Colombia (May 2018). In late 2018 Miguel published his latest book BE PATIENT | SE PACIENTE. Artistic and medical entanglements in the work of Libia Posada.
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