Constituencies: between Ñande and Ore (original) (raw)

Glossary of Common Knowledge (GCK) is a five-year research project by MG+MSUM in the frame of L’Internationale., 2016

Abstract

It is not a revelation that museums have to manage relationships with communities. The question could be formulated like this: which community? Just as the identity has become pluralized, so has the identity. Museums are inscribed in a community which is usually plural. To whom are the museums and art galleries owed to? Each institution has generated its own objectives as a function of concrete interests to objects of study or incidence perspectives, work modalities, and, more specifically, according to its understanding of its own place of inscription or enunciation. The community in which a museum its inscribed—or attempts to—is far from being homogeneous. Very often the community is read as a conglomerate of those people that are part of a city, a neighborhood, etc. The work is done “for” the community, as if the people who work or manage a museum are not part of any specific community. Then, who conforms that community to which the Museum is owed to? In order to attempt an answer I bring up two words in Guarani: the binomial Ñande/Ore, equivalent to the third person plural. Firstly, I will make a brief introduction to the concept and then relate it to a specific case: the Museo del Barro and the Seminar Espacio/Crítica, both dependants of the Museum itself. This relation would throw off some triggers that may be useful in understanding the idea of constituencies from another point of view.

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