Towards a polyphonic museum. Integrating aesthetics, epistemologies and peoples in Chile's art museums

在2019年广泛抗议的背景下，圣地亚哥美术馆的墙上出现了一条信息：当艺术为人民而生时，我会相信它。拟议的项目探讨了智利的艺术博物馆如何解决导致最近内乱的日益严重的社会经济不平等问题，并重点关注高雅文化和流行文化之间的鸿沟如何影响分享权力和鼓励参与的机构努力。这种由殖民地引进的艺术博物馆模式所体现的鸿沟，通常会增强霸权社会群体的力量，同时贬低被剥夺权利的社区中日常仪式、传统和艺术表现形式的美学价值。我的三个案例研究博物馆在智利的艺术和文化环境中发挥着重要作用。每一个组织都成立于不同的历史时刻（1910年、1971年、2001年），具有不同的价值观和具体的体制框架，以及侧重于不同公众的不同协作工作战略，并表现出不同程度的包容、参与和权力分享承诺。结合对现有倡议的分析，以及对工作人员和社区的访谈和焦点小组的调查结果，我将借鉴流行文化研究和非殖民理论，识别和分析协作工作固有的冲突及其模糊既定界限的潜力，并承认边缘化的美学和认识论。（De Carli，2004; Pinochet，2016），但没有研究讨论美学等级制度如何影响大型艺术博物馆与被剥夺权利的社区互动。尽管低文化被认为是一个能够想象和发挥替代世界的重新意义的解放场所（Rowe和Schelling，1991;里维埃拉Cusicanqui，2018），但既定的艺术博物馆模式保持了高文化和流行文化之间的鸿沟，产生了一个本体论的层次结构，将艺术和人分开并分类。该项目试图在拉丁美洲的背景下质疑和破坏边界，将关于流行文化，文化民主，参与和消费的辩论联系起来（Garcia-Canclini，2014）与非殖民化理论的贡献，包括Mignolo与欧洲认识论普遍主义的脱钩（2007）和美学和审美的分析（2010），以及巴斯克斯对博物馆非殖民化的思考（2018）。为了了解博物馆在这一过程中的潜在机构，我借鉴了皮诺切特对表演性博物馆的分析（2016），桑德尔和简斯对博物馆行动主义的理解（2019），以及加西亚对博物馆作为实验室的阐述（2019）。该项目的总体目标是评估合作战略如何使智利著名的艺术博物馆从根深蒂固的殖民根源转变为关键和变革性的工具。我将通过以下方式实现这一目标：从博物馆研究的发现和非殖民化和流行文化的理论，建立一个框架，以评估合作在分享文化权力和扩大参与的有效性;进行采访博物馆工作人员，以建立博物馆如何理解，规划和实施合作战略;完成美学和书面语言的批判性分析博物馆使用框架的合作战略的结果;与社区成员进行焦点小组讨论，以确定那些作为协作目标的人如何看待这一进程及其成果;评估哪些博物馆的做法和流程最适合进行富有成效的合作，通过比较和对比每个博物馆使用的策略和他们在社区中的接受情况，本研究提供了一个关于审美复调价值的实证研究，文化民主有可能影响智利作为一个正在经历危机的国家的政策，

In a context of widespread protests in 2019, a message appeared on the wall of Santiago's Museo de Bellas Artes: I will believe in art when it is made for the people. The proposed project addresses how Chile's art museums have tackled the rising socioeconomic inequality that caused recent civil unrest, and focuses on how a divide between high and popular culture affects institutional efforts to share power and encourage participation. This divide, enshrined by the colonially imported art museum model, typically augments the power of hegemonic social groups while belittling the aesthetic value of everyday rituals, traditions, and artistic expressions alive within disenfranchised communities. My three case study museums play prominent roles in Chile's artistic and cultural milieu. Founded at distinct historical moments (1910, 1971, 2001), each has different values and a specific institutional framework, as well as diverse collaborative working strategies focusing on different publics and demonstrating varying levels of commitment to inclusion, participation and power sharing. Combining an analysis of existing initiatives with findings from interviews and focus groups with staff and communities, I will draw from popular culture studies and decolonial theory to identify and analyse both the conflicts inherent to collaborative work and its potential to blur established boundaries and acknowledge marginalised aesthetics and epistemologies.The potential of collaborative work is demonstrated by studies of small, community-led museums (De Carli, 2004; Pinochet, 2016), but no studies have addressed how aesthetic hierarchies affect large art museums engaging with disenfranchised communities. Although low culture is recognised as an emancipatory site of resignification able to imagine and play out alternative worlds (Rowe and Schelling, 1991; Riviera Cusicanqui, 2018), the established art museum model maintains a divide between high and popular culture that produces an ontological hierarchy separating and classifying art and people. Seeking to question and destabilise boundaries in a Latin American context, this project connects debates on popular culture, cultural democracy, participation and consumption (Garcia-Canclini, 2014) with contributions from decolonial theory including Mignolo's delinking from European epistemological universalism (2007) and analysis of aesthetic and aesthesis (2010), and Vazquez's reflections on decolonizing the museum (2018). To understand museums' potential agency in this process, I draw from Pinochet's analysis of performative museums (2016), Sandell and Janes' understanding of museum activism (2019), and Garcia's articulation of museum-as-laboratory (2019). The overarching aim of the project is to evaluate how collaborative strategies might enable Chile's prominent art museums to morph from entrenched colonial roots to become critical and transformative instruments. I will achieve this by: Drawing from Museum Studies findings and theories of decoloniality and popular culture to establish a framework to evaluate the effectiveness of collaboration in sharing cultural power and broadening participation; Carrying out interviews with museum staff to establish how museums understand, plan and implement collaborative strategies; Completing critical analysis of the aesthetic and written language museums use to frame the outcomes of collaborative strategies; Conducting focus groups with community members to establish how those targeted by collaborative work perceive both the process and its outcomes; Evaluating which museum practices and processes are best suited to allow for fruitful collaborative work, by comparing and contrasting the strategies used by each museum and their reception in their communities.The research offers an empirical study of the value of aesthetic polyphony and cultural democracy with the potential to influence the policies of Chile as a nation undergoing cons