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Da coleção sem paredes ao Centro de Arte Moderna da Fundação Calouste Gulbenkian. Histórias de uma oficiosa coleção «nacional» (1957-1994)
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Resumo(s)
A Coleção do Centro de Arte Moderna (CAM) da Fundação Calouste Gulbenkian (FCG) começou a ser formada, em 1957, como medida de apoio aos artistas portugueses contemporâneos. Cedo se tornaria numa «coleção sem paredes», formada fora da instituição museu, nos mesmos pressupostos das coleções do Arts Council e do British Council. No decorrer de um quarto de século, converter-se-ia na coleção do primeiro museu português a mostrar, de forma permanente e representativa, a arte moderna e contemporânea. Tal desiderato, impulsionado pela conquista da democracia e pelos esforços de integração na Comunidade Económica Europeia, corroborava um imaginário de oficiosa «coleção nacional», porém, esboçado nos anos da ditadura, no âmbito das políticas de descentralização artística e da diplomacia cultural. Nesta tese procura-se compreender – no que herda, abdica e acrescenta – a conversão da coleção mecenática, «sem paredes», na coleção museal, com o apoio em fontes primárias, na história institucional, expositiva e nas incorporações, bem como nas dinâmicas institucionais, académicas e do meio artístico português, até 1994, data que marca o fim da primeira direção do CAM. Esta investigação insere-se nos estudos sobre a formação de coleções institucionais, operando através da compreensão dos seus enunciados discursivos e do seu agenciamento enquanto tecnologia do Estado-nação, reconhecendo modelos curatoriais e narrativas. Analisa como uma coleção participa na diplomacia cultural oficial e nas relações culturais externas, compreendendo e articulando os contextos regional/ local/ global. O processo de formação de uma oficiosa «coleção nacional» assentou, todavia, num cosmopolitismo enraizado, que esta tese procura compreender, analisando os trânsitos e as transferências artísticas ocorridos. Pelos testemunhos da coleção discutem-se temas atuais no âmbito dos estudos de museus e da historiografia da arte portuguesa contemporânea, como a conflitualidade modernidade/colonialidade/decolonialidade, ou a institucionalização do modelo historiográfico introduzido por J.-A. França. Procurou-se ainda abrir a reflexão à representatividade e anseios dos diversos atores públicos nos museus e coleções.
The Modern Art Centre (CAM) collection of the Calouste Gulbenkian Foundation (FCG) was started in 1957, as a measure to support the contemporary Portuguese artists. It would soon become a ‘collection without walls’, founded outside the museum institution, on the same grounds as those of the Arts Council and the British Council collections. Within a quarter of a century, it would become the collection of the first Portuguese museum to display modern and contemporary art in a permanent and representative way. Such ambition, fueled by the newly conquered democracy and by the efforts to integrate European Economic Community, corroborated an imagined, unofficial, “national collection”; however, still drawn up in the years of the dictatorship, in the scope of the artistic decentralization policy and cultural diplomacy. In this thesis we aim to understand – in means of heritance, loss and addition – the conversion of the patronage collection, ‘without walls’, into a museum collection, supported by the primary sources as well as by institutional and exhibition histories, acquisitions policy, and by the other institutional and academic dynamics and those of the Portuguese artistic context, until 1994, a date that sees the end of the CAM's first direction. This research is part of the studies focused on the institutional collecting practice, operating through the understanding of their discursive statements and their function as a technology of the nation-State, recognizing curatorial models and narratives. It also analyzes as a collection takes part in official cultural diplomacy and articulates the regional / local / global contexts. The process of forming an unofficial “national collection” was based, however, on a rooted cosmopolitanism, which this thesis also aims to understand, by analyzing the artistic circulation and transfers that occurred. Throughout the testimonies of the collection, current topics are debated within the context of museum studies and of contemporary Portuguese art history, as for example the conflict modernity/coloniality/decoloniality, or the institutionalization of the historiographic model introduced by J.-A. França. There is also here an attempt to open the door for the reflection on representativeness and aspirations of the different public actors in museums and collections.
The Modern Art Centre (CAM) collection of the Calouste Gulbenkian Foundation (FCG) was started in 1957, as a measure to support the contemporary Portuguese artists. It would soon become a ‘collection without walls’, founded outside the museum institution, on the same grounds as those of the Arts Council and the British Council collections. Within a quarter of a century, it would become the collection of the first Portuguese museum to display modern and contemporary art in a permanent and representative way. Such ambition, fueled by the newly conquered democracy and by the efforts to integrate European Economic Community, corroborated an imagined, unofficial, “national collection”; however, still drawn up in the years of the dictatorship, in the scope of the artistic decentralization policy and cultural diplomacy. In this thesis we aim to understand – in means of heritance, loss and addition – the conversion of the patronage collection, ‘without walls’, into a museum collection, supported by the primary sources as well as by institutional and exhibition histories, acquisitions policy, and by the other institutional and academic dynamics and those of the Portuguese artistic context, until 1994, a date that sees the end of the CAM's first direction. This research is part of the studies focused on the institutional collecting practice, operating through the understanding of their discursive statements and their function as a technology of the nation-State, recognizing curatorial models and narratives. It also analyzes as a collection takes part in official cultural diplomacy and articulates the regional / local / global contexts. The process of forming an unofficial “national collection” was based, however, on a rooted cosmopolitanism, which this thesis also aims to understand, by analyzing the artistic circulation and transfers that occurred. Throughout the testimonies of the collection, current topics are debated within the context of museum studies and of contemporary Portuguese art history, as for example the conflict modernity/coloniality/decoloniality, or the institutionalization of the historiographic model introduced by J.-A. França. There is also here an attempt to open the door for the reflection on representativeness and aspirations of the different public actors in museums and collections.
Descrição
Palavras-chave
Centro de Arte Moderna da Fundação Calouste Gulbenkian Diplomacia cultural Política de incorporações Coleção institucional Coleção museológica Modernismo História das exposições Estado Novo Democracia Modern Art Centre of Calouste Gulbenkian Foundation Cultural diplomacy Collecting policy Museum collection Institutional collecting Modernism History of exhibitions Portuguese dictatorship Democracy